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 polyptych of the misericordia oil


polyptych of the misericordia
Painting ID::  64986
polyptych of the misericordia
sansepolcro, pinacoteca comunale oil and tempera on panel base 3.30 m height approximately 2.73m se
   
   
     

Piero della Francesca Geburt Christi oil


Geburt Christi
Painting ID::  72464
Geburt Christi
1460-1475 Oil on panel 124 X 123 cm cjr
1460-1475 _ Oil_on_panel _ 124_X_123_cm_ cjr
   
   
     

Piero della Francesca Geburt Christi oil


Geburt Christi
Painting ID::  74140
Geburt Christi
Date 1460-1475 Medium Oil on panel Dimensions Deutsch: 124 X 123 cm cyf
   
   
     

Piero della Francesca Madonna di Senigallia oil


Madonna di Senigallia
Painting ID::  82554
Madonna di Senigallia
Medium Oil on canvas Dimensions Italiano: 31 x 28 cm cjr
   
   
     

Piero della Francesca Madonna and Child Attended by Angels oil


Madonna and Child Attended by Angels
Painting ID::  83982
Madonna and Child Attended by Angels
Date between 1460(1460) and 1465(1465) Medium Oil on wood cjr
   
   
     

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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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