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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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Portrait of Duke Frederico da Montefello and Battista Sfozza
mk156
c.1465
Oil on tempera on panel
47x33cm
Painting ID:: 40232
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Portrait_of_Duke_Frederico_da_Montefello_and_Battista_Sfozza
mk156
c.1465
Oil on tempera on panel
47x33cm
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Portrait of Duke Frederico da Montefello and Battista Sfozza
mk156
c.1465
Oil and tempera on panel
47x33cm
Painting ID:: 40233
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Portrait_of_Duke_Frederico_da_Montefello_and_Battista_Sfozza
mk156
c.1465
Oil and tempera on panel
47x33cm
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The christening of Christ
MK169
ca. 1445 panel painting 167.2x116.2cm
Painting ID:: 42628
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The_christening_of_Christ
MK169
ca. 1445 panel painting 167.2x116.2cm
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THe Baptism of Christ
mk170
1459-1460
Tempera on poplar
167x116cm
Painting ID:: 42860
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THe_Baptism_of_Christ
mk170
1459-1460
Tempera on poplar
167x116cm
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The Nativity
mk170
1475-1480
Oil on poplar
124.4x122.6cm
Painting ID:: 42861
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The_Nativity
mk170
1475-1480
Oil on poplar
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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