Abstract
Cosimo Rosselli (1) was born in 1439 in the via del Corncomero in Florence and in 1453 became one of the numerous students of Neri di Bicci whom he left however in 1456, that is to say the year Benozzo Gozzoli came to Florence and it is highly likely that during a certain length of time Cosimo worked with this artist.
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Reference
Vasari, ed. Milanesi, III Gaie, Carteggio, II, p. 457. F. Knapp, Pier di Cosimo, Halle, 1897, p. 9. G. Gronan, Uber die frühere Thätigheit des C. R., Repert. f. Kunstwiss., 1897, p. 7o. J, Cartwright, The Painters of Florence, p. 171.
B. Supino. Arch. Stor. dell’ Arte, 1893, p. 421.
Mr. Berenson judges this fresco, which Vasari attributes to Cosimo, to be the work of Pier. Dr. Steinmann is of the opinion that it is by Pier and a helper, while Prof. Venturi gives it to Fra Diamante. Clmann, jahrb. K. Preus. Kunstsamml., 1896, p. 54 and Knapp. op. cit., p. 21, ascribe it to Benedetto Ghirlandaio.
J. P. Richter, La collezione Hertz e gli affreschi di Giulio Romano nel Palazzo Zuccari, (Rome), 1928, p. 33. The picture seems to originate from Pisa.
Milanesi, note on Vasari, III, p. 186. von Runiohr, op. cit., thought that the date 1456 could be distinguished after the signature “Cosimo Rosselli F:”, but this is naturally impossible because at that moment Cosimo was only seventeen years old.
Exhibited at the Loan Exhibition of Italian Primitives held in the Kleinberger Galleries, New York, November 1937, No. 31.
The document is published by Milanesi, note on Vasari, III, p. 184.
A. Venturi, La Galleria Sterbini in Roma, Rome, 1906, No. 26, ascribes it to Fra Diamante. L. Venturi, Alcune opere della collezione Gualino esposte nella R. Pinacoteca di Torino. Milan, Rome, 1928, No. 24, hesitatingly gives it to Cosimo Rosselli.
Berenson, Drawings, I, p. 126; If, Nos. 2384–2387.
In the collection of drawings in Christ Church, Oxford, there is a sheet showing on one side a youth and a woman and on the other a Coronation of the Virgin which in old times is said to have been ascribed to Cosimo Rosselli. Bell, Drawings by the Old Masters etc., p. 82.
D’ Ancona, La miniat. fior., Vol. I, p. 6o and pl. 72; Vol. II, No. 805. The Same, La miniature italienne, Paris-Brussels, 1925, p. 78 and pi. LXXIII, ascribes these miniatures to the collaboration of Francesco di Antonio and Zanobi Strozzi, although he remarks that they are diffèrent from the other works which he attributes to these two artists.
Milanesi, note 3 on Vasari, III, p. 53. S. Reinacli, Un tableau de M. au Musée National de Dublin, Gazette des Beaux Arts, 1900, I, p. 278. M. Salmi, M. e il “Compagno del Pesellino”, Rivista d’Arte, IX, 1916, p. 49. G. Poggi, Z. di Jacopo M., Idem, p. 67. P. Bacci, Z. M. a Pisa, Idem, X, 1917, p. 125.
v. also Taufani Centofanli, Notizie di artisti tratti dai documenti pisani, Pisa, 1893, p. 416. Supino, Arch. Stor. dell’Arte, 1894, p. 234• The Same, Campo Santo, p. 199.
Milanesi, commentary on Vasari’s Life of Pesellino, III, p. 43. In Vol. X, p. 471, I erroneously say that it is Vasari who makes this affirmation, an affirmation which is confirmed by H. Home v. Salmi, op. cit., p. 55 note 1.
De Nicola, Di alcuni dipinti nel Casentino, L’Arte, XVII. 1914, p. 260.
N. Baldoria, Arch. stor. dell’Arte, III, 1890, p. 53.
Gaye, Carteggio, I, p. 209; v. p. 115 of this vol.
G. Carocci, I dintorni di Firenze, II, Florence, 1907, p. 259.
O. H. Grglioli, Rivista d’ Arte, III, 1905, p. 258. Carocci, op. cit., I, P. 347.
Vol. X, p. 514. Attributed to Giusto by Pantini, San Gimignano, Bergamo, 1908, p. 78, also in the gallery and in Thieme Becker, loc. cit.
C. Ricci, Volterra, Bergamo, no date, p. ioo. Thieme Becker, loc. cit.
G. Poggi, in G. Danuielli e G. Poggi, Toscana (Itin. Automob.), Florence, 1924, p. 255. P. L. Occhini, Valle Teberina, Bergamo, 191o, p. 58, to the manner of Giusto.
Poggi, op. cit., p. 239.
Berenson, Drawings, II, No. 906. Other attributions to Giusto di Andrea are: Cambridge, U.S.A., Fogg Art Museum (No. 6), St. Jerome between SS. John the Baptist and Thecla(?). Fogg Art Mus. Collection
Guasti, I quadri della galleria di Prato, Prato, 1888, p. 107.
Gior. Stor. degli archivi toscani, II, p. 248.
The documents have been published by Milanesi, ed. Vasari, Il, p. 641, who by mistake gives the date as 1492 instead of 1482. Steinmann, op. cit., p. 203. U1mann, op. cit.. Horne, op. cit., does not think that this record refers to works carried out in the Sixtine chapel but of this there can be no doubt, v. Venturi, op. cit., VII’, p. 579 note q.
Baldanzi, op. cit., p. 52. Milanesi, note on Vasari, II, p. 627’. Crowe and Cavalcaselle, ed. Langton Douglas, IV, p. 179. Fogg Art Museum Coll. of Mediaeval and Renaissance Paintings, p. 58.
G. Poggi, Rassegna d’Arte, VIII, 1908. p. 43
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van Marle, R. (1929). Cosimo Rosselli, Zanobi Machiavelli, Giusto di Andrea and Fra Diamante. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2813-9_6
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