In The Painting Career ofPiero di Cosimo (1462-1522), I have sought to assemble a critical, monographic study of Piero's painting oeuvre that presently includes close to fifty works that are either extant or exist only in references and sources. The Florentine painter has historically proven to be among the most elusive artists of the Italian Renaissance and yet acted as a seminal figure in the artistic transitions occurring from the close of the fifteenth century to the beginnings of Mannerism in Florence. My thesis consists of close iconographic and stylistic analyses that have been balanced by archival work and technical examination. The latter involved numerous meetings with restorers in United States and European conservation laboratories. The resulting in-depth study of the physical states of Piero's paintings as objects involving painting technique, working methods and present condition produces some of the most revealing results. My research with original documents and other primary sources in Florence also introduces a number of new discoveries, particularly from the early and middle stages of the painter's life and career. The varied nature of Piero's art calls for a multidisciplinary approach. Combining iconographic, conservational and archival methods, I aim to contribute new insights into several specific areas. These include: a biographical grounding of Piero's life and those of his known patrons; Piero's advances in portraiture; the use of visual narrative forms and literary sources in Piero's mythologies; and the painter's large-scale devotional works. The questioning of past assumptions concerning Piero's work and biography also leads me to consider the larger scope of influence, legacy and modes of transmission between Piero and other contemporary artists. As one of the most important older innovators, living well into the sixteenth century, Piero was a major catalyst for the new generation of highly inventive artists such as Andrea del Sarto and Pontormo, both of whom passed through his studio. It was Piero, however, who proved to be perhaps the most groundbreaking practitioner in the domestic secular painting tradition before his pupils' ascendance.

Renaissance art historians concur that women were characteristically depicted as ideal types in Renaissance portraiture. Nonetheless, the historiography of portraits of women in Renaissance Italy reveals generational shifts between scholars. Male scholars writing in the nineteenth-century to the mid twentieth-century applied formalist and cultural historical methodologies. Recent scholars raise issues that were previously neglected, such as social historical and feminist concerns. Following this rationale, I argue that the changing interests of scholars have altered the interpretations of portraits of Renaissance women. Moreover, this historical difference is split along gender lines in the historiography of Titian's La Bella. A critical review of the literature on this painting shows that male scholars, such as John Pope-Hennessey, Harold E. Wethey, and Charles Hope define the work in formal terms, such as "charming" and "pretty," whereas female scholars such as Elizabeth Cropper, Patricia Simons and Rona Goffen concur the work to be a synecdoche for the beauty of painting itself. A historiography of Titian as a portrait painter confirms that recent scholars have shifted focus from formal studies to an assessment of the social context, conditions of patronage and the feminist issues surrounding the artist's portraits.

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This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.

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