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, detail oil


the flagellation, detail
Painting ID::  64918
the flagellation, detail
urbino galleria nazionale delle marche se
urbino_galleria_nazionale_delle_marche se
   
   
     

Piero della Francesca the montefeltro altarpiece, details oil


the montefeltro altarpiece, details
Painting ID::  64919
the montefeltro altarpiece, details
milan, pinacoteca di brera se
milan,_pinacoteca_di_brera se
   
   
     

Piero della Francesca st agatha from the predella of the st anthony polyptych oil


st agatha from the predella of the st anthony polyptych
Painting ID::  64933
st agatha from the predella of the st anthony polyptych
se
se
   
   
     

Piero della Francesca st claire from the predella of the st anthony polytych oil


st claire from the predella of the st anthony polytych
Painting ID::  64934
st claire from the predella of the st anthony polytych
perugia, galleria nationale dell'umbria se
perugia,_galleria_nationale_dell'umbria se
   
   
     

Piero della Francesca the montefeltro altarpiece, details oil


the montefeltro altarpiece, details
Painting ID::  64935
the montefeltro altarpiece, details
milan pinacoteca di brera se
milan_pinacoteca_di_brera se
   
   
     

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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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