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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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Resurrection
1463-65;
Mural in fresco and
tempera;Pinacoteca
Comunale,Sansepolcro
Painting ID:: 9987
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Resurrection
1463-65;
Mural in fresco and
tempera;Pinacoteca
Comunale,Sansepolcro
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Polyptych of Saint Augustine
460-70
Oil and tempera
on panel; panels are
in different museums
Painting ID:: 9988
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Polyptych_of_Saint_Augustine
460-70
Oil and tempera
on panel; panels are
in different museums
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Polyptych of Saint Augustine fy
1460-70
Oil and tempera
on panel; panels in
different museums
Painting ID:: 9989
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Polyptych_of_Saint_Augustine_fy
1460-70
Oil and tempera
on panel; panels in
different museums
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Madonna del parto
1467; Detached
fresco; Chapel of
cemetery,Monterchi
Painting ID:: 9990
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Madonna_del_parto
1467; Detached
fresco; Chapel of
cemetery,Monterchi
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Madonna and Child with Saints Montefeltro Altarpiece
1472-74; Oil on pane
Pinacoteca Brera,Milan
Painting ID:: 9991
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Madonna_and_Child_with_Saints_Montefeltro_Altarpiece
1472-74; Oil on pane
Pinacoteca Brera,Milan
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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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ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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Wholesale China Oil Painting Wholesale Oil Painting China Xiamen Portrait Reproduction on canvas Chinese Oil Painting Wholesale
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