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 senigallia madonna oil on canvas


senigallia madonna
senigallia madonna
Painting ID::  64976
  the senigallia madonna, details se
  the senigallia madonna, details se

Height    Width


  INS/CM       Quality

X

  

Piero della Francesca senigallia madonna oil on canvas


senigallia madonna
senigallia madonna
Painting ID::  64977
  the senigallia madonna, details se
  the senigallia madonna, details se

Height    Width


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X

  

Piero della Francesca madonna and chold enthroned between four angels oil on canvas


madonna and chold enthroned between four angels
madonna and chold enthroned between four angels
Painting ID::  64978
  williamstown, mass, sterling and francine clark art institute mixed media on panel, transferred to plywood in 1961 117.8 by 78.42cm se
  williamstown, mass, sterling and francine clark art institute mixed media on panel, transferred to plywood in 1961 117.8 by 78.42cm se

Height    Width


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X

  

Piero della Francesca the legend of the true cross, oil on canvas


the legend of the true cross,
the legend of the true cross,
Painting ID::  64979
  detail, the death of adam se
  detail, the death of adam se

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Piero della Francesca the flagellation oil on canvas


the flagellation
the flagellation
Painting ID::  64980
  detail, urbino galleria nazionale se
  detail, urbino galleria nazionale se

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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