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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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polyptych of the misericordia
sansepolcro, pinacoteca comunale
oil and tempera on panel
base 3.30 m height approximately 2.73m
se
Painting ID:: 64986
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polyptych_of_the_misericordia
sansepolcro, pinacoteca comunale
oil and tempera on panel
base 3.30 m height approximately 2.73m
se
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Geburt Christi
1460-1475
Oil on panel
124 X 123 cm
cjr
Painting ID:: 72464
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Geburt_Christi
1460-1475
Oil on panel
124 X 123 cm
cjr
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Geburt Christi
Date 1460-1475
Medium Oil on panel
Dimensions Deutsch: 124 X 123 cm
cyf
Painting ID:: 74140
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Geburt_Christi
Date 1460-1475
Medium Oil on panel
Dimensions Deutsch: 124 X 123 cm
cyf
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Madonna di Senigallia
Medium Oil on canvas
Dimensions Italiano: 31 x 28 cm
cjr
Painting ID:: 82554
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Madonna_di_Senigallia
Medium Oil on canvas
Dimensions Italiano: 31 x 28 cm
cjr
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Madonna and Child Attended by Angels
Date between 1460(1460) and 1465(1465)
Medium Oil on wood
cjr
Painting ID:: 83982
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Madonna_and_Child_Attended_by_Angels
Date between 1460(1460) and 1465(1465)
Medium Oil on wood
cjr
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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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