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 Adoration of the Holy Wood and the Meeting of Solomon and Queen of Sheba oil on canvas


Adoration of the Holy Wood and the Meeting of Solomon and Queen of Sheba
Adoration of the Holy Wood and the Meeting of Solomon and Queen of Sheba
Painting ID::  9992
  c.1452; Fresco, San Francesco, Arezzo
  c.1452; Fresco, San Francesco, Arezzo

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Piero della Francesca Portrait of Sigismondo Malatesta (mk05) oil on canvas


Portrait of Sigismondo Malatesta (mk05)
Portrait of Sigismondo Malatesta (mk05)
Painting ID::  20028
  Wood,17 1/4 x 13 1/2''(44 x 34 cm)Entered the Louvre in 1978
  Wood,17 1/4 x 13 1/2''(44 x 34 cm)Entered the Louvre in 1978

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Piero della Francesca Senigallia Madonna (mk08) oil on canvas


Senigallia Madonna (mk08)
Senigallia Madonna (mk08)
Painting ID::  21193
  c.,1460-1475 Tempera on wood 61x53.5cm Urbino,Galleria Nazionale
  c.,1460-1475 Tempera on wood 61x53.5cm Urbino,Galleria Nazionale

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Piero della Francesca The Baptism of Christ (mk08) oil on canvas


The Baptism of Christ (mk08)
The Baptism of Christ (mk08)
Painting ID::  21212
  C.1440-1450 Tempera on wood 168x116cm London ,National Gallery
  C.1440-1450 Tempera on wood 168x116cm London ,National Gallery

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Piero della Francesca Double portrait fo Federigo da Montefeltro (mk08) oil on canvas


Double portrait fo Federigo da Montefeltro (mk08)
Double portrait fo Federigo da Montefeltro (mk08)
Painting ID::  21213
  c.1470 Tempera on panel, 47x33cm Florence,Galleria degli Uffizi
  c.1470 Tempera on panel, 47x33cm Florence,Galleria degli Uffizi

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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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