Italian painter or group of painters. The name was given by Berenson (1932) to an unknown artist whose work was previously confused with that of Pier Francesco Fiorentino (1444/45-after 1497), a mediocre follower of
Benozzo Gozzoli and Bicci di Neri.
The numerous pictures attributed to the anonymous master do not in fact resemble Pier Francesco s oeuvre. They are instead well-crafted, albeit mechanical, adaptations of paintings by
Pesellino and Filippo Lippi. A few are copies of whole compositions, such as the Virgin Adoring the Christ Child in the chapel of the Palazzo Medici-Riccardi, Florence, which replaced Lippi s original (Berlin, Staatliche Museen). The Pseudo-Pier Francesco works derived from Lippi s designs only (all from paintings dating from the 1450s) often combine motifs from more than one composition.
Pesellino s Madonnas (Isabella Stewart Gardner Museum, Boston) were another frequent resource. Works by Pseudo-Pier Francesco are all marked by a lavish, archaic use of gold leaf, and many include elaborate rose-hedge backgrounds, probably derived from Domenico Veneziano.
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