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 Flagellation of Jesus oil


The Flagellation of Jesus
Painting ID::  40200
The Flagellation of Jesus
mk156 c.1450 Oil and tempera on panel 58.4x51.5cm
mk156 c.1450 Oil_and_tempera_on_panel 58.4x51.5cm
   
   
     

Piero della Francesca Adoration of the Holy Wood and the Meeting of Solomon and the Queen of Sheba oil


Adoration of the Holy Wood and the Meeting of Solomon and the Queen of Sheba
Painting ID::  40201
Adoration of the Holy Wood and the Meeting of Solomon and the Queen of Sheba
mk156 1450-1465 Fresco,Choir of the Church of San Francesco
   
   
     

Piero della Francesca Madonna of Senigallia oil


Madonna of Senigallia
Painting ID::  40213
Madonna of Senigallia
mk156 1460-75 oil on panel 61x53cm
mk156 1460-75 oil_on_panel 61x53cm
   
   
     

Piero della Francesca Resurrection oil


Resurrection
Painting ID::  40215
Resurrection
mk156 1463 Mura in fresco and tempera 225x200cm
mk156 1463 Mura_in_fresco_and_tempera_ 225x200cm
   
   
     

Piero della Francesca Nativity oil


Nativity
Painting ID::  40223
Nativity
mk156 1470-75 Oil on panel 124.4x122.6cm
mk156 1470-75 Oil_on_panel 124.4x122.6cm
   
   
     

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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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