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 Torture of the Jew oil


Torture of the Jew
Painting ID::  32475
Torture of the Jew
c. 1455 Fresco, 356 x 193 cm
c._1455 Fresco,_356_x_193_cm
   
   
     

Piero della Francesca Federico di Montefeltro oil


Federico di Montefeltro
Painting ID::  33245
Federico di Montefeltro
mk83 c.1465
mk83 c.1465
   
   
     

Piero della Francesca The Dream of Constantine oil


The Dream of Constantine
Painting ID::  33262
The Dream of Constantine
mk83 Fresco 329x190cm
mk83 Fresco 329x190cm
   
   
     

Piero della Francesca Discovery and Proof of the True Cross oil


Discovery and Proof of the True Cross
Painting ID::  33263
Discovery and Proof of the True Cross
mk83 Fresco 356x747cm
mk83 Fresco 356x747cm
   
   
     

Piero della Francesca Mary Magdalene oil


Mary Magdalene
Painting ID::  33265
Mary Magdalene
mk83 c.1468 Fresco 190x180cm
mk83 c.1468 Fresco 190x180cm
   
   
     

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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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