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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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Ferderigo da Montefeltro's Wife Battista Sforza
mk86
c.1470
Tempera on panel
47x33cm
Florence,Galleria degli Uffizi
Painting ID:: 33383
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Ferderigo_da_Montefeltro's_Wife_Battista_Sforza
mk86
c.1470
Tempera on panel
47x33cm
Florence,Galleria degli Uffizi
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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
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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
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Die Konigin von Saba betet das Kreuzesholz and Ausschnitt
mk92
1452
Arezzo
San Francesco
Painting ID:: 34365
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Die_Konigin_von_Saba_betet_das_Kreuzesholz_and_Ausschnitt
mk92
1452
Arezzo
San Francesco
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Die Konigin von Saba betet das Kreuzesholz an
mk92
Painting ID:: 34366
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Die_Konigin_von_Saba_betet_das_Kreuzesholz_an
mk92
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The Crucifixion
mk29
Tempera on panel
37.5x41.1cm
Painting ID:: 38148
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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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