Short answers, pulled from the story.
Neri di Bicci entered the world in 1419 as the third link in a chain of artistic fathers. His grandfather Lorenzo di Bicci worked alongside Jacopo di Cione and Niccolò di Pietro Gerini during the early Renaissance. The three men formed a lineage that began with Neri's grandfather and continued through him to his children.
Neri received a commission from Bartolomeo di Lucha Martini on the 6th of August 1456 for an altarpiece now hanging in Seattle's St James Cathedral. Another major project began the 7th of May 1471 when Mariotto della Palla ordered an altarpiece featuring three archangels. He died in 1491 leaving behind payments recorded as eight bushels of grain delivered to Santa Maria Monticelli.
Before 1452 his works contained ornamental motifs and artistic freshness typical of a young creator. After that date he adopted Renaissance forms which eventually became tired and repetitive over decades. He painted identical subjects repeatedly changing only minor details like clothing while keeping character poses unchanged.
Cosimo Rosselli began his apprenticeship at age fourteen on the 4th of May 1453 inside Neri's studio. Giusto d'Andrea joined later in 1458 staying two years before entering the Compagnia di San Luca himself. His pupils included Stagio di Taddeo d'Antonio Dionigi d'Andrea and Giosuè di Santi among others.
A 189-page diary known as the Ricordanze spans from the 10th of March 1453 until the 24th of April 1475. This document remains the most extensive record of any fifteenth-century painter preserved today within the Uffizi library. Historians rely on these pages to identify works even those currently lost or unlocated.
Neri died in 1491 buried within Saint Mary of Carmine church leaving no artist children behind. His four sons and two daughters entered mercantile trades ending the family's artistic dynasty immediately. Giorgio Vasari confusedly described Neri as Lorenzo's second son making him brother to Bicci rather than grandson.