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 St.Michael 02 oil painting


St.Michael 02
Painting ID::  1527
Artist: Piero della Francesca
Painting: St.Michael 02
Introduction: 1467 National Gallery, London
   
   
     

Piero della Francesca The Baptism of Christ 02 oil painting


The Baptism of Christ 02
Painting ID::  1528
Artist: Piero della Francesca
Painting: The Baptism of Christ 02
Introduction: 1442 National Gallery, London
   
   
     

Piero della Francesca The Duke of Urbino oil painting


The Duke of Urbino
Painting ID::  1529
Artist: Piero della Francesca
Painting: The Duke of Urbino
Introduction: 1465-70 Galleria degli Uffizi, Florence
   
   
     

Piero della Francesca The Duchess of Urbino oil painting


The Duchess of Urbino
Painting ID::  1530
Artist: Piero della Francesca
Painting: The Duchess of Urbino
Introduction: 1465-70 Galleria degli Uffizi, Florence
   
   
     

Piero della Francesca The Penance of St.Jerome oil painting


The Penance of St.Jerome
Painting ID::  1532
Artist: Piero della Francesca
Painting: The Penance of St.Jerome
Introduction: 1450 Gemaldegalerie Dahlem, Berlin
   
   
     

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     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.