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 Polyptych of St Anthony oil on canvas


Polyptych of St Anthony
Polyptych of St Anthony
Painting ID::  32441
  1460-70 Panel, 338 x 230 cm
  1460-70 Panel, 338 x 230 cm

Height    Width


  INS/CM       Quality

X

  

Piero della Francesca The Penance of St. Jerome oil on canvas


The Penance of St. Jerome
The Penance of St. Jerome
Painting ID::  32446
  1450 Panel, 51 x 38 cm
  1450 Panel, 51 x 38 cm

Height    Width


  INS/CM       Quality

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Piero della Francesca St. Julian oil on canvas


St. Julian
St. Julian
Painting ID::  32447
  1455-60 Fresco, 130 x 105 cm
  1455-60 Fresco, 130 x 105 cm

Height    Width


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Piero della Francesca Head of an Angel oil on canvas


Head of an Angel
Head of an Angel
Painting ID::  32460
  1452 Fresco, 55 cm
  1452 Fresco, 55 cm

Height    Width


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Piero della Francesca Head of an Angel oil on canvas


Head of an Angel
Head of an Angel
Painting ID::  32461
  1460 Fresco, 70 cm
  1460 Fresco, 70 cm

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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