He is best known for his large highly detailed landscapes with imaginary classical architectural ruins. He often included small figures in the foreground to emphasize the expansiveness of the ruins. Coccorante is classified as a veduta (vista) painter. Public collections holding paintings by Coccorante include the Museo Regionale Agostino Pepoli (Trapani, Italy), Pinacoteca del Castello Sforzesco (Milan, Italy), the Louvre, the Musée départemental de l'Oise (Beauvais, France), the Museum of Grenoble ( France), the Lowe Art Museum (Coral Gables, Florida), and the Honolulu Museum of Art, .
References
Christies, Important Old Master Paintings, the Properties of the Estate of Josephine Hartford Bryce, etc. [Cavallino, Coccorante, Droochsloot, Dusart, Fontana, Giordano, Guardi, Il Guercino, De Mura, Panini, Preti, De Ribera, Romney, Tintoretto, Etc.], New York, Christies, 1993.
Fredericksen, Burton and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, Harvard University Press, 1972.
Sothebys, Old Master Paintings. Dirk Dalense. Delft School. Circle Of Johannes Cornelisz. Jan Van Haensbergen. Roman School. Follower Of Lucas Cranach. Jan Van Der Bent. Leonardo Coccorante. George Lambert. Circle of Nicolas De Largilliere, New York, Sothebys, 1996.
Gallery
Port of Ostia During a Tempest, oil on canvas, 1740s, Lowe Art Museum
Capriccio of architectural ruins with a seascape beyond, oil on canvas
Port of Tarento, oil on canvas painting, 1738
Capriccio of classical ruins with figures, oil on canvas
Capriccio of ruins with figures under stormy night sky, oil on canvas
Architecture with figures, oil on canvas
Architectural Capriccio with figures, dawn. Oil on canvas, Collezione M (private collection) Rome
Architectural Capriccio with figures, dusk. Oil on canvas, Collezione M (private collection) Rome
References
^Le belle arti, Volumes 1-2, By Giovanni Battista Gennaro Grossi, Tipografia del Giornale Enciclopedico, Strada del Salvadore a Sant'Angelo a Nilo #48, Naples (1820); page 198.