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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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The Discovery of the Wood of the True Cross and The Meeting of Solomon and the Queen of Sheba (mk08)
1452
Fresco.
360x750cm
Arezzo,San Francesco
Painting ID:: 21214
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The_Discovery_of_the_Wood_of_the_True_Cross_and_The_Meeting_of_Solomon_and_the_Queen_of_Sheba_(mk08)
1452
Fresco.
360x750cm
Arezzo,San Francesco
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Federigo da Montefeltro and his Wife Battista Sforza (mk45)
Tempera on two panels
each 47x33cm
Florence
Painting ID:: 25883
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Federigo_da_Montefeltro_and_his_Wife_Battista_Sforza_(mk45)
Tempera on two panels
each 47x33cm
Florence
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Resurrection
mk68
Fresco
Sansepolcro
Civice Museum
1463-1465
ltaly
Painting ID:: 30425
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Resurrection
mk68
Fresco
Sansepolcro
Civice Museum
1463-1465
ltaly
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Portrait of the Duke and Duchess of Montefeltro
mk68
Tempera on wood
18 1/2x13
Florence
Painting ID:: 30432
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Portrait_of_the_Duke_and_Duchess_of_Montefeltro
mk68
Tempera on wood
18 1/2x13
Florence
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St.Simon the apostle
mk76
Painted between 1454 and 1469.
Tempera on panel
52 3/4x24 1/2in
Painting ID:: 31724
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St.Simon_the_apostle
mk76
Painted between 1454 and 1469.
Tempera on panel
52 3/4x24 1/2in
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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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