{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Piero di Cosimo: The Poetry of Painting in Renaissance Florence' data-url='/boclips/videos/5c54c4ded8eafeecae16be45' data-video-url='/boclips/videos/5c54c4ded8eafeecae16be45' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nPiero di Cosimo: The Poetry of Painting in Renaissance Florence\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eA new exhibition of renaissance artist Piero di Cosimo's is being unveiled at the National Gallery of Art in Washington. The artist is the master of producing stories in paint, and gives a flavour of everyday life in Renaissance Italy....\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eA new exhibition of renaissance artist Piero di Cosimo's is being unveiled at the National Gallery of Art in Washington. \u003cbr/\u003eThe artist is the master of producing stories in paint, and gives a flavour of everyday life in Renaissance Italy. \u003cbr/\u003eWhen you enter the world of the artist Piero di Cosimo, you enter the world of Renaissance Italy with its religion, myths, allegories and pagan symbolism.\u003cbr/\u003eThe fifteenth century Italian painter has been neglected for several hundred years, until now.\u003cbr/\u003eA new show at the National Gallery of Art in Washington showcases Piero's work with 44 paintings that span the four decades of his career, as well as his varied subject matter.\u003cbr/\u003eDennis Geronimus is Associate Professor of Art History at New York University.\u003cbr/\u003e\"He comes across as a artist who doesn't just speak one visual language, but many. And, on the one hand, he's full of the unexpected, the fantastic, the improbable. On the other hand he also speaks a very human language, one that one could describe best as a visual vernacular. So, even the most solemn of compositions are filled with little particles of the lived, of the everyday,\" he says. \u003cbr/\u003ePiero was very popular in his own time and painted for many of the richest families in Florence.\u003cbr/\u003eHe painted altar pieces on large wooden panels for side chapels installed in some of the most prestigious churches in Florence.\u003cbr/\u003eHis religious themed works are in high demand, along with his allegories and mythological paintings.\u003cbr/\u003eHe was simply overlooked for many centuries, overshadowed by his contemporaries like Leonardo da Vinci and Sandro Botticelli.\u003cbr/\u003eGeronimus says he had a great eye for detail. \u003cbr/\u003e\"He has a gift for making the ordinary seem extraordinary.  And, he, at the same time, invests the extraordinary in the case of both the pious and the pagan with little hints of everyday life to make them all the more immediate and to draw in, both then and now.\"\u003cbr/\u003ePiero wasn't so much an innovator of technique, as he was a master of techniques for producing stories in paint.\u003cbr/\u003eThis painting, titled \"The Visitation of Saint Nicholas and St. Anthony Abbot is one gem in the exhibition.\u003cbr/\u003eAn altarpiece from the 15th century of the pregnant Virgin Mary meeting with Saint Elizabeth, who will soon become the mother of John the Baptist.\u003cbr/\u003eThe painting has just undergone a major restoration in the conservation lab.\u003cbr/\u003eGretchen Hirschauer is Associate Curator of Italian and Spanish paintings at the National Gallery.  \u003cbr/\u003e\"Even though its one central scene, the visitation, Piero invites you into the panel, he leads the eye of the worshipper, of the spectator, throughout the picture.  So, you see many more scenes than just the primary\" she explains. \u003cbr/\u003eThere's a nativity scene on the left behind Mary's shoulder.\u003cbr/\u003eAbove that, just barely visible, the Magi are working their way down a hillside.\u003cbr/\u003eOn the right hand of the panel, the murder of the innocents on orders from King Herod.\u003cbr/\u003eHirschauer also highlights Piero's emphasis on details. \u003cbr/\u003e\"The two saints on either side, St. Nicholas and St. Anthony Abbot and their attributes.  For example, St. Anthony Abbot, just beyond him is a wild pig, and he holds, there's a crutch, and he's wearing spectacles. And, little did we know that there were spectacles.\"\u003cbr/\u003eThere are pairs of spectacles from the 15th century on display in the archaeological museum in Florence.\u003cbr/\u003eAnother genre that Piero approached was the 15th century interpretation of Greek and Latin classics of mythology.\u003cbr/\u003eOften commissioned by patrons as panels in the sides of a trunk, or to decorate dining rooms, the mythological paintings allowed Piero's imagination to run wild.\u003cbr/\u003eIn this depiction of the Greek mythological rescue of Andromeda, Piero depicts the sea monster, a flying Perseus to the rescue and a celebration when the maiden is safe.\u003cbr/\u003eHirschauer says he is a master storyteller. \u003cbr/\u003e\"We don't really know if he knew how to read or not.  He probably could read Italian, he probably could read the vernacular, but we don't know for sure if he could read Latin.  And, that would have been the vernacular that would have given him these stories.  So, either he was a very good reader or a very good listener.  So, we don't know if he could actually read the stories or if the stories were just told to him.\"\u003cbr/\u003eWorks in the exhibition span Piero's entire career - portraits, devotional works, public altar pieces as well as mythological scenes.\u003cbr/\u003eThe exhibition illustrates his talents both as a painter who understood not only the artistic needs of his patrons, but also the struggles of the common people in the 15th century.\u003cbr/\u003eAnd, he was a painter who opened up new vistas through his landscapes that support the figures in his paintings.\u003cbr/\u003e\"One thing is certain that he had a very active and wonderfully strange sense of fantasy in that his imagination and the way that he imbued his paintings with again, both the human and the divine, the everyday and extraordinarily strange was something that was virtually unparalleled in this period\" says Geronimus. \u003cbr/\u003ePiero's work is filled with humour and whimsey, as well as serious lessons for both the sacred and the secular.\u003cbr/\u003eThe exhibition at the National Gallery of Art in Washington runs through early May.\u003cbr/\u003eThe show then moves to the Uffizi Gallery in Florence.\u003cbr/\u003eAP Television \u003cbr/\u003eWashington DC -   27 January, 2015\u003cbr/\u003e1. Wide of gallery with people standing in front of \"Madonna and Child Enthroned\", zoom in\u003cbr/\u003e2. Mid view of \"The Adoration of the Child\"\u003cbr/\u003e3. Detail from \"The Hunt\"                                                                                                                                                         \u003cbr/\u003e4. SOUNDBITE:  (English) Dennis Geronimus, Associate Professor of Art History, New York University:\u003cbr/\u003e\"He comes across as a artist who doesn't just speak one visual language, but many.  And, on the one hand, he's full of the unexpected, the fantastic, the improbable.  On the other hand he also speaks a very human language, one that one could describe best as a visual vernacular.  So, even the most solemn of compositions are filled with little particles of the lived, of the every day.\"\u003cbr/\u003e5. Wide pan up of \"The Adoration of the Child\"\u003cbr/\u003e6. Detail of Mary's face\u003cbr/\u003e7. Detail of the \"Keys to Heaven\" held by St. Peter\u003cbr/\u003e8. Detail of the crown\u003cbr/\u003e9. SOUNDBITE: (English) Dennis Geronimus, Associate Professor of Art History, New York University:\u003cbr/\u003e\"He has a gift for making the ordinary seem extraordinary. And, he, at the same time, invests the extraordinary in the case of both the pious and the pagan with little hints of everyday life to make them all the more immediate and to draw the view in, both then and now.\"\u003cbr/\u003e10. Wide slow zoom to \"The Visitation with St. Nicholas and St. Anthony Abbot\"\u003cbr/\u003e11. Close view of hands of St. Anthony Abbot\u003cbr/\u003e12. Wide view of Gretehen Hirschauer with delegation looking at painting\u003cbr/\u003e13. Wide zoom out of Gretchen Hirschauer\u003cbr/\u003e14. SOUNDBITE: (English) Gretchen Hirschauer, National Gallery of Art:\u003cbr/\u003e\"Even though its one central scene, the visitation, Piero invites you into the panel, he leads the eye of the worshipper, of the spectator, throughout the picture.  So, you see many more scenes than just the primary.\"\u003cbr/\u003e15. Detail of Nativity scene in painting\u003cbr/\u003e16. Detail of Magi on winding trail\u003cbr/\u003e17. Detail of \"Slaughter of the Innocents\"\u003cbr/\u003e18. SOUNDBITE: (English) Gretchen Hirschauer, National Gallery of Art:\u003cbr/\u003e\"The two saints on either side, St. Nicholas and St. Anthony Abbot and their attributes.  For example, St. Anthony Abbot, just beyond him is a wild pig, which is one of his attributes and he holds, there's a crutch, and he's wearing spectacles.  And, little did we know that there were spectacles in 15th century Florence.\"\u003cbr/\u003e19. Detail of Nativity scene in painting\u003cbr/\u003e20. Wide of \"Liberation of Andromeda\"\u003cbr/\u003e21. Detail - Andromeda tied to the tree\u003cbr/\u003e22. Detail - \"Liberation of Andromeda\"\u003cbr/\u003e23. Detail - Perseus slaying the water dragon\u003cbr/\u003e24. Detail - Andromeda and Perseus celebrating after she is freed\u003cbr/\u003e25. SOUNDBITE: (English) Gretchen Hirschauer, National Gallery of Art:\u003cbr/\u003e\"We don't really know if he knew how to read or not.  He probably could read Italian, he probably could read the vernacular, but we don't know for sure if he could read Latin.  And, that would have been the text  that would have given him these stories.  So, either he was a very good reader or a very good listener.  So, we don't know if he could actually read the stories or if the stories were just told to him.\"\u003cbr/\u003e26. Wide of pan of gallery\u003cbr/\u003e27. Two people looking at \"Adoration of the Child\" tondo\u003cbr/\u003e28. Close view of St. John the Evangelist\u003cbr/\u003e29.  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