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 Discovery of the Wood of the True Cross and The Meeting of Solomon and the Queen of Sheba (mk08) oil


The Discovery of the Wood of the True Cross and The Meeting of Solomon and the Queen of Sheba (mk08)
Painting ID::  21214
The Discovery of the Wood of the True Cross and The Meeting of Solomon and the Queen of Sheba (mk08)
1452 Fresco. 360x750cm Arezzo,San Francesco
1452 Fresco. 360x750cm Arezzo,San_Francesco
   
   
     

Piero della Francesca Federigo da Montefeltro and his Wife Battista Sforza (mk45) oil


Federigo da Montefeltro and his Wife Battista Sforza (mk45)
Painting ID::  25883
Federigo da Montefeltro and his Wife Battista Sforza (mk45)
Tempera on two panels each 47x33cm Florence
Tempera_on_two_panels each_47x33cm Florence
   
   
     

Piero della Francesca Resurrection oil


Resurrection
Painting ID::  30425
Resurrection
mk68 Fresco Sansepolcro Civice Museum 1463-1465 ltaly
   
   
     

Piero della Francesca Portrait of the Duke and Duchess of Montefeltro oil


Portrait of the Duke and Duchess of Montefeltro
Painting ID::  30432
Portrait of the Duke and Duchess of Montefeltro
mk68 Tempera on wood 18 1/2x13 Florence
mk68 Tempera_on_wood 18_1/2x13 Florence
   
   
     

Piero della Francesca St.Simon the apostle oil


St.Simon the apostle
Painting ID::  31724
St.Simon the apostle
mk76 Painted between 1454 and 1469. Tempera on panel 52 3/4x24 1/2in
   
   
     

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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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