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Half a millennium later, you would think the Italian Renaissance could hold no more secrets from us, no “codes” to decipher. And, yet, secrets hiding in plain sight continue to startle modern audiences with the depth and breadth of that amazing era. One of the well-kept secrets, at least until now, was the work of Piero di Cosimo, subject of his first major retrospective, Piero di Cosimo: The Poetry of Painting in Renaissance Florence at the National Gallery of Art, Washington, DC.  Called “a madman” for his personal and artistic quirks by Renaissance chronicler Giorgio Vasari, Piero’s ability to paint in multiple genres all with a dizzying amount of detail may have seemed madness to contemporaries, but appeals to modern audiences conditioned for such visual assaults. There may have been a method to Piero di Cosimo’s madness after all.
Read ’em and weep. Or just add your own ideas at the bottom of this post. 1. Julian Schnabel. Bombastic, prolific, self-promotional, and grandiose, Schnabelwas the ethos of 1980’s NYC writ large […]
Modern art takes itself much too seriously. Even the Pop artists often took the fun out of whatever they touched—a reverse Midas touch rendering even comedy gold into dross. Andy […]
The Iowa Technology Education Connection (ITEC) conference each year is fairly small. Despite its size, however, it tends to bring in some really big-name speakers for its keynote addresses. Last […]