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250:, whom he may have met in person in Ferrara in 1458–1459. From Piero he borrowed a sense for the geometric spatial construction, a monumental spirit and a use of sharp and clear lighting, which he used above all in his backgrounds. A third fundamental element of input was the work of Flemish artists, also represented in Ferrara among the collections maintained by the Marquis. From these, Tura acquired a taste for minute observation of detail and for the use of oil paint to render the differing textures of materials depicted, from the glitter of gems to the soft reflections of velvet.
282:. With a lively personality and a variety of skills, he was present in all the artistic manifestations of the Este court. Throughout the fifty years of Tura's artistic life, the various successive Dukes made use of his talents in the most disparate works: this swas the norm for court artists of the time, who experienced no rigid compartmentalization of tasks. In addition to practising his art as a skilled painter, Tura was also a set designer for parties and tournaments, a decorator and designer of furniture, clothes, blankets, pottery, and a draftsman of tapestry cartoons.
449:, Tura helped produce an intricately conceived allegorical series about the months of the year and symbols of the zodiac The series contains contemporary portraits of musicians, laborers, and carnival floats in idyllic parades. As in Piero della Francesca's world, the unemotive figures mill about in classical serenity. This is considered the greatest collective essay of the Ferrara school as well as one of the most singular pictorial cycles of the European Renaissance.
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208:, Dukes of Ferrara, such as flags bearing coats of arms of the family destined for display at the Castle, or a helmet to be awarded as a tournament prize. Such works as these were a staple among the commissions received by an artist's workshop in the day and represented a major source of income. It may also be that Tura was able to find work among the court illuminators.
430:, it was executed by Tura in 1470–1474 using oil and egg-tempera on poplar panel work. The original painted by Tura was later dismembered and the panels split up between several museums. The central part is in the National Gallery in London, and depicts the Madonna and Child seated on an elaborate throne and surrounded by musician angels.
219:. In fact, numerous elements in his works seem to suggest a local stylistic influence from Padua in particular. It may have been that the Este themselves sponsored his apprenticeship journey, in the light of his precocious artistic skills. A notable feature of the scene in Padua was the thriving workshop of
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It might have been from such an experience in Padua that Tura drew his taste for clear and sharp signs and for decorative exuberance, with citations of the antique, which he then took to extreme levels. Moreover, Squarcione served to introduce and disseminate some of the Tuscan innovations brought to
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Tura's painting is endowed with great originality in the
Italian panorama of the time, featuring lavishly decorated compositions and an almost sculptural plasticity of the figures, in an apparent realism that belongs more to fantasy rather than reality. The colors are bright and unreal, which often
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make the subjects seem like metal or stone, immersed in a tense and surreal atmosphere, with a dreamlike feeling. The experiences derived from the courtly art of international Gothic, aimed at celebration, are blended and transformed through the influence of the
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One of houses occupied by Tura during his time as painter in
Ferrara was certainly located in the "Via delle Vecchie", which for a long time was named "Strada del Tura" after him for this reason. It is possibly a sign that he also died there.
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In 1456 Tura, therefore, returned to
Ferrara, where he became a painter in the full sense, appearing on the court salary rolls, even with residence in the Castle. This testifies to his occupying a post as court painter, replacing
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From mid-1452 to April 1456 no other documents attest to Tura's presence in
Ferrara, which has led to the suggestion that he may have undertaken a journey, perhaps spending time in
381:, already mentioned, now at London's National Gallery. While the individual attributions are often debated, among the artists thought to have contributed to the series were
441:(1469–71). This pleasure palace, with facade and architecture of little note, belonged to the d'Este family and is located just outside the medieval town walls. Along with
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The events of the history of
Ferrara, with the ruinous trajectory of decline of the dukes at the end of the 16th century, led to the destruction of most of Tura's works.
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artists, Cosmè Tura died poor and weary. This is attested by a letter he wrote in 1490 to Duke Ercole, asking for payment of one of his works, perhaps the marvelous
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With the rise to power of Ercole I d'Este (1471), Tura was appointed court portraitist, a role he devoted himself to until 1486 when he was replaced by the younger
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193:, of humble origins, he was the son of a shoemaker named Domenico. There is no record of Cosmè's apprenticeship, which Vasari linked to the mysterious artist
274:(also called Angelo Maccagnino or Angelo Parrasio), who had died on August 5 of that year. In Ferrara Tura worked for the rest of his active life for
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Despite his attachment to the Este family, to whom he gave virtually the whole of his life's work, and despite having been the leader of a group of
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on one side and St. George and the princess on the other. He collaborated in the painting of a series of "muses" for the
Belfiore "studiolo", of
243:, such as the use of linear perspective, the strong, squared lines of the forms and the skilful rendering of expression given to human figures.
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The first historical documents concerning him are dated to the years 1451–1452, when he decorated some objects for the court of the ruling
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Among his earliest works, we hear of a lost lunette for the door of the cathedral. Works usually attributed to this period include the
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and
Flemish painting. The meticulous search for details and impossible landscapes is found again later in painters of the
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In the years following he worked on frescoes, such as in the chapel of
Francesco Sacrati in San Domenico (1467) and the
1027:"Panels from a Small Altarpiece Showing Saints Peter and John the Baptist (left to right) by Cosmè Tura (cat. 241a,b)"
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Mann, C. Griffith (1998). "Cosme Tura of
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Side Panels from a
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of Ferrara, an elusive and thinly documented figure, linked by friendship to
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Letter A, miniature from choirbook (Metropolitan Museum, New York)
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The John G. Johnson Collection: A History and Selected Works
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in Ferrara in memory of his brother, the Bishop of Ferrara,
1045:"Cosme Tura. St. Anthony of Padua Reading - Olga's Gallery"
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now remain, paid for on 2 June 1469. Here Tura painted the
1033:. A Philadelphia Museum of Art free digital publication.
916:"Cosme Tura. St. George and the Dragon - Olga's Gallery"
437:. In Ferrara, he is well represented by frescoes in the
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History of Painting: The Renaissance in Venice Part Two
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San Giorgio fuori le mura (St George outside the Walls)
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982:"Cosme Tura. St. Dominic - Olga's Gallery"
756:Cosmè Tura at the Encyclopaedia Britannica
312:In 1458 records place Tura at work in the
172:. He provided a great contribution to the
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143: – 1495), also known as
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891:"Saint John the Evangelist in Patmos"
847:"Cosme Tura. Spring - Olga's Gallery"
789:, project entry on Palace Schifanoia.
265:(1470-1474), National Gallery, London
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1004:"Cosme Tura. Pietà - Olga's Gallery"
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652:(1474) - National Gallery, London
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644:(1469) - Museo del Duomo, Ferrara
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626:(1470) - Museo del Duomo, Ferrara
618:(1460) - National Gallery, London
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554: 1460
318:Terpsichore
206:Este family
162:Renaissance
149:Cosimo Tura
141: 1430
126:Renaissance
98:Nationality
72: 1430
58: 1460
18:Cosimo Tura
1319:Categories
1192:Cosmè Tura
743:References
685:, (Louvre)
609:, New York
589:(1470s) -
574:(1470s) -
134:Cosmê Tura
34:Cosmè Tura
1275:(c. 1480)
1240:(c. 1475)
1232:(c. 1470)
1210:(c. 1460)
1199:Paintings
1136:153393365
1051:7 October
1010:7 October
988:7 October
966:7 October
944:7 October
922:7 October
875:7 October
853:7 October
662:, Germany
458:depiction
241:Donatello
239:Padua by
185:Formation
180:Biography
124:or early-
1068:Archived
830:Archived
810:Archived
783:Archived
676:Florence
636:, Madrid
593:, Boston
560:, Venice
422:for the
379:Calliope
330:Calliope
328:and the
297:) and a
189:Born in
145:Il Cosmè
118:Movement
112:Painting
51:Calliope
1287:Related
580:Ferrara
454:Emilian
358:in the
332:of the
320:of the
295:Ajaccio
191:Ferrara
102:Italian
91:Ferrara
77:Ferrara
1224:(1469)
1134:
1094:
900:23 May
734:Modena
706:Louvre
672:Uffizi
614:Spring
501:Paduan
489:, 1469
470:Modena
338:London
215:or in
213:Venice
1207:Pietà
1132:S2CID
710:Paris
682:Pietà
546:Pieta
494:Style
326:Milan
305:, in
289:(the
217:Padua
1092:ISBN
1053:2014
1012:2014
990:2014
968:2014
946:2014
924:2014
902:2020
877:2014
855:2014
568:and
556:) -
445:and
408:The
385:and
347:and
278:and
164:(or
87:1495
84:Died
65:Born
1124:doi
1120:113
1116:MLN
468:in
414:or
340:).
336:in
324:in
309:).
293:in
147:or
53:),
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1130:.
1118:.
1029:.
893:.
794:^
732:,
717:-
708:,
704:-
693:c.
674:,
670:-
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578:,
551:c.
528:,
511:.
485:,
405:.
389:.
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227:,
201:.
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138:c.
69:c.
55:c.
1184:e
1177:t
1170:v
1138:.
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