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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Piero della Francesca The Apostle oil


The Apostle
Painting ID::  38174
The Apostle
mk29 1454-69 Tempera on poplar panel 134x62.2cm
mk29 1454-69 Tempera_on_poplar_panel 134x62.2cm
   
   
     

Piero della Francesca Portrat of duke Frederico there Montefello oil


Portrat of duke Frederico there Montefello
Painting ID::  38478
Portrat of duke Frederico there Montefello
mk137 1475 oils and Tempera on chalkboard 47x33cm Galleria degli Uffizi, Florence
   
   
     

Piero della Francesca Dke Battista Sforza oil


Dke Battista Sforza
Painting ID::  38479
Dke Battista Sforza
mk137 1475 oils and Tempera on chalkboard 47x33cm Galleria degli Uffizi, Florence
   
   
     

Piero della Francesca Gallery, London baptizes Christs oil


Gallery, London baptizes Christs
Painting ID::  38543
Gallery, London baptizes Christs
mk137 ca.1440-1145 Tempera on wood chalkboard 167x116cm The nationally
   
   
     

Piero della Francesca The Baptism of Christ oil


The Baptism of Christ
Painting ID::  40192
The Baptism of Christ
mk156 1445 Tempera on panel 167x116cm National Gallery, London
   
   
     

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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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