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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 fo Christ
mk247
c.1460,oil and tempera on panel,23x32 in,58x82 cm,galleria nazionale delle marche,urbino,ltaly
Painting ID:: 55948
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The_Flagellation_fo_Christ
mk247
c.1460,oil and tempera on panel,23x32 in,58x82 cm,galleria nazionale delle marche,urbino,ltaly
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The Resurrection of Christ
mk247
c.1463,fresco,88.675x78.75 in,225x200cm,pinacoteca civica,sansepolcro,ltaly
Painting ID:: 55951
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The_Resurrection_of_Christ
mk247
c.1463,fresco,88.675x78.75 in,225x200cm,pinacoteca civica,sansepolcro,ltaly
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Portraits of Federico da Montefeltro and Battista Sforza
mk247
1465-66,tempera on panel,15.5x13 in,47x33 cm,uffizi,florence,ltaly
Painting ID:: 55952
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Portraits_of_Federico_da_Montefeltro_and_Battista_Sforza
mk247
1465-66,tempera on panel,15.5x13 in,47x33 cm,uffizi,florence,ltaly
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Brera madonna
mk247
1472-74,oil on panel,99x67 in,241x172 cm,pinacoteca di brera,milan,ltaly
Painting ID:: 55956
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Brera_madonna
mk247
1472-74,oil on panel,99x67 in,241x172 cm,pinacoteca di brera,milan,ltaly
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battista sforza.hustru till federico da montefeltro
mk248 battista sforza tillborde den barskande atten i milano. hon fodde federico sju dottrar ocb en son, ocb dog vid sonens fodelse. de flesta bistoriler ansr att portrattet ett i en diptuk maladdes postumt. bakgrunden visar urbino ocb den omgivande landsbygden.
Painting ID:: 56650
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battista_sforza.hustru_till_federico_da_montefeltro
mk248 battista sforza tillborde den barskande atten i milano. hon fodde federico sju dottrar ocb en son, ocb dog vid sonens fodelse. de flesta bistoriler ansr att portrattet ett i en diptuk maladdes postumt. bakgrunden visar urbino ocb den omgivande landsbygden.
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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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