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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 Flagellation of Jesus
mk156
c.1450
Oil and tempera on panel
58.4x51.5cm
Painting ID:: 40200
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The_Flagellation_of_Jesus
mk156
c.1450
Oil and tempera on panel
58.4x51.5cm
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Adoration of the Holy Wood and the Meeting of Solomon and the Queen of Sheba
mk156
1450-1465
Fresco,Choir of the Church of San Francesco
Painting ID:: 40201
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Adoration_of_the_Holy_Wood_and_the_Meeting_of_Solomon_and_the_Queen_of_Sheba
mk156
1450-1465
Fresco,Choir of the Church of San Francesco
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Madonna of Senigallia
mk156
1460-75
oil on panel
61x53cm
Painting ID:: 40213
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Madonna_of_Senigallia
mk156
1460-75
oil on panel
61x53cm
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Resurrection
mk156
1463
Mura in fresco and tempera
225x200cm
Painting ID:: 40215
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Resurrection
mk156
1463
Mura in fresco and tempera
225x200cm
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Nativity
mk156
1470-75
Oil on panel
124.4x122.6cm
Painting ID:: 40223
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Nativity
mk156
1470-75
Oil on panel
124.4x122.6cm
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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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