All Piero della Francesca Oil Paintings

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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Piero della Francesca Portrait of Duke Frederico da Montefello and Battista Sfozza oil on canvas


Portrait of Duke Frederico da Montefello and Battista Sfozza
Portrait of Duke Frederico da Montefello and Battista Sfozza
Painting ID::  40232
  mk156 c.1465 Oil on tempera on panel 47x33cm
  mk156 c.1465 Oil on tempera on panel 47x33cm

Height    Width


  INS/CM       Quality

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Piero della Francesca Portrait of Duke Frederico da Montefello and Battista Sfozza oil on canvas


Portrait of Duke Frederico da Montefello and Battista Sfozza
Portrait of Duke Frederico da Montefello and Battista Sfozza
Painting ID::  40233
  mk156 c.1465 Oil and tempera on panel 47x33cm
  mk156 c.1465 Oil and tempera on panel 47x33cm

Height    Width


  INS/CM       Quality

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Piero della Francesca The christening of Christ oil on canvas


The christening of Christ
The christening of Christ
Painting ID::  42628
  MK169 ca. 1445 panel painting 167.2x116.2cm
  MK169 ca. 1445 panel painting 167.2x116.2cm

Height    Width


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Piero della Francesca THe Baptism of Christ oil on canvas


THe Baptism of Christ
THe Baptism of Christ
Painting ID::  42860
  mk170 1459-1460 Tempera on poplar 167x116cm
  mk170 1459-1460 Tempera on poplar 167x116cm

Height    Width


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Piero della Francesca The Nativity oil on canvas


The Nativity
The Nativity
Painting ID::  42861
  mk170 1475-1480 Oil on poplar 124.4x122.6cm
  mk170 1475-1480 Oil on poplar 124.4x122.6cm

Height    Width


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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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