Piero della Francesca
Italian Early Renaissance Painter, ca.1422-1492 Italian painter and theorist. His work is the embodiment of rational, calm, monumental painting in the Italian Early Renaissance, an age in which art and science were indissolubly linked through the writings of Leon Battista Alberti. Born two generations before Leonardo da Vinci, Piero was similarly interested in the scientific application of the recently discovered rules of perspective to narrative or devotional painting, especially in fresco, of which he was an imaginative master; and although he was less universally creative than Leonardo and worked in an earlier idiom, he was equally keen to experiment with painting technique. Piero was as adept at resolving problems in Euclid, whose modern rediscovery is largely due to him, as he was at creating serene, memorable figures, whose gestures are as telling and spare as those in the frescoes of Giotto or Masaccio. His tactile, gravely convincing figures are also indebted to the sculpture of Donatello, an equally attentive observer of Classical antiquity. In his best works, such as the frescoes in the Bacci Chapel in S Francesco, Arezzo, there is an ideal balance between his serene, classical compositions and the figures that inhabit them, the whole depicted in a distinctive and economical language. In his autograph works Piero was a perfectionist, creating precise, logical and light-filled images (although analysis of their perspective schemes shows that these were always subordinated to narrative effect). However, he often delegated important passages of works (e.g. the Arezzo frescoes) to an ordinary, even incompetent, assistant.
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Piero della Francesca Ferderigo da Montefeltro's Wife Battista Sforza oil painting


Ferderigo da Montefeltro's Wife Battista Sforza
mk86 c.1470 Tempera on panel 47x33cm Florence,Galleria degli Uffizi
Painting ID::  33383 		Piero della Francesca
Ferderigo da Montefeltro's Wife Battista Sforza
mk86 c.1470 Tempera on panel 47x33cm Florence,Galleria degli Uffizi
   
   
     
Piero della Francesca The Discovery of the Wood of the True Cross and The Meeting of Solomon and the Queen of Sheba oil painting


The Discovery of the Wood of the True Cross and The Meeting of Solomon and the Queen of Sheba
mk86 After 1452 Fresco 360x750cm Arezzo. San Francesco
Painting ID::  33384 		Piero della Francesca
The Discovery of the Wood of the True Cross and The Meeting of Solomon and the Queen of Sheba
mk86 After 1452 Fresco 360x750cm Arezzo. San Francesco
   
   
     
Piero della Francesca Die Konigin von Saba betet das Kreuzesholz and Ausschnitt oil painting


Die Konigin von Saba betet das Kreuzesholz and Ausschnitt
mk92 1452 Arezzo San Francesco
Painting ID::  34365 		Piero della Francesca
Die Konigin von Saba betet das Kreuzesholz and Ausschnitt
mk92 1452 Arezzo San Francesco
   
   
     
Piero della Francesca Die Konigin von Saba betet das Kreuzesholz an oil painting


Die Konigin von Saba betet das Kreuzesholz an
mk92
Painting ID::  34366 		Piero della Francesca
Die Konigin von Saba betet das Kreuzesholz an
mk92
   
   
     
Piero della Francesca The Crucifixion oil painting


The Crucifixion
mk29 Tempera on panel 37.5x41.1cm
Painting ID::  38148 		Piero della Francesca
The Crucifixion
mk29 Tempera on panel 37.5x41.1cm
   
   
     
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     Piero della Francesca
     Italian Early Renaissance Painter, ca.1422-1492 Italian painter and theorist. His work is the embodiment of rational, calm, monumental painting in the Italian Early Renaissance, an age in which art and science were indissolubly linked through the writings of Leon Battista Alberti. Born two generations before Leonardo da Vinci, Piero was similarly interested in the scientific application of the recently discovered rules of perspective to narrative or devotional painting, especially in fresco, of which he was an imaginative master; and although he was less universally creative than Leonardo and worked in an earlier idiom, he was equally keen to experiment with painting technique. Piero was as adept at resolving problems in Euclid, whose modern rediscovery is largely due to him, as he was at creating serene, memorable figures, whose gestures are as telling and spare as those in the frescoes of Giotto or Masaccio. His tactile, gravely convincing figures are also indebted to the sculpture of Donatello, an equally attentive observer of Classical antiquity. In his best works, such as the frescoes in the Bacci Chapel in S Francesco, Arezzo, there is an ideal balance between his serene, classical compositions and the figures that inhabit them, the whole depicted in a distinctive and economical language. In his autograph works Piero was a perfectionist, creating precise, logical and light-filled images (although analysis of their perspective schemes shows that these were always subordinated to narrative effect). However, he often delegated important passages of works (e.g. the Arezzo frescoes) to an ordinary, even incompetent, assistant.

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