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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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Piero della Francesca St.Michael 02 oil painting

Painting ID::  1527

X 
 

Piero della Francesca
St.Michael 02
1467 National Gallery, London
   
   
     

 

 

Piero della Francesca The Baptism of Christ 02 oil painting

Painting ID::  1528

X 
 

Piero della Francesca
The Baptism of Christ 02
1442 National Gallery, London
   
   
     

 

 

Piero della Francesca The Duke of Urbino oil painting

Painting ID::  1529

X 
 

Piero della Francesca
The Duke of Urbino
1465-70 Galleria degli Uffizi, Florence
   
   
     

 

 

Piero della Francesca The Duchess of Urbino oil painting

Painting ID::  1530

X 
 

Piero della Francesca
The Duchess of Urbino
1465-70 Galleria degli Uffizi, Florence
   
   
     

 

 

Piero della Francesca The Penance of St.Jerome oil painting

Painting ID::  1532

X 
 

Piero della Francesca
The Penance of St.Jerome
1450 Gemaldegalerie Dahlem, Berlin
   
   
     

 

 

Piero della Francesca St.Sebastian and St.John the Baptist oil painting

Painting ID::  1533

X 
 

Piero della Francesca
St.Sebastian and St.John the Baptist
1440-1460 Museo Civico, Sansepolcro
   
   
     

 

 

Piero della Francesca Polyptych of the Misericordia oil painting

Painting ID::  9978

X 
 

Piero della Francesca
Polyptych of the Misericordia
1460-62; Oil and temper a on panel; Pinacoteca Comuale Sansepolcro
   
   
     

 

 

Piero della Francesca Polyptych of the Misericordia oil painting

Painting ID::  9979

X 
 

Piero della Francesca
Polyptych of the Misericordia

   
   
     

 

 

Piero della Francesca Sigismondo Pandolfo oil painting

Painting ID::  9980

X 
 

Piero della Francesca
Sigismondo Pandolfo
Malatesta 1451; Oil and tempera on panel;Louvre,Paris
   
   
     

 

 

Piero della Francesca Saint Jerome and a Donor oil painting

Painting ID::  9981

X 
 

Piero della Francesca
Saint Jerome and a Donor
1451; Panel; Gallerie dell' Accademia,Venice
   
   
     

 

 

Piero della Francesca Madonna di Senigallia oil painting

Painting ID::  9982

X 
 

Piero della Francesca
Madonna di Senigallia
early 1470's; Galleria Nazionale delle Marche, Urbino
   
   
     

 

 

Piero della Francesca Annuncciation oil painting

Painting ID::  9983

X 
 

Piero della Francesca
Annuncciation
c.1455; Fresco San Francesco Arezzo
   
   
     

 

 

Piero della Francesca Carrying the Sacred Wood oil painting

Painting ID::  9984

X 
 

Piero della Francesca
Carrying the Sacred Wood
1455; Fresco San Francesco,Arezzo
   
   
     

 

 

Piero della Francesca Saint Mary Magdalen oil painting

Painting ID::  9985

X 
 

Piero della Francesca
Saint Mary Magdalen
1460; Fresco; Duomo, Arezzo
   
   
     

 

 

Piero della Francesca Constantine s Dream oil painting

Painting ID::  9986

X 
 

Piero della Francesca
Constantine s Dream
1455; Fresco; San Francesco,Arezzo
   
   
     

 

 

Piero della Francesca Resurrection oil painting

Painting ID::  9987

X 
 

Piero della Francesca
Resurrection
1463-65; Mural in fresco and tempera;Pinacoteca Comunale,Sansepolcro
   
   
     

 

 

Piero della Francesca Polyptych of Saint Augustine oil painting

Painting ID::  9988

X 
 

Piero della Francesca
Polyptych of Saint Augustine
460-70 Oil and tempera on panel; panels are in different museums
   
   
     

 

 

Piero della Francesca Polyptych of Saint Augustine fy oil painting

Painting ID::  9989

X 
 

Piero della Francesca
Polyptych of Saint Augustine fy
1460-70 Oil and tempera on panel; panels in different museums
   
   
     

 

 

Piero della Francesca Madonna del parto oil painting

Painting ID::  9990

X 
 

Piero della Francesca
Madonna del parto
1467; Detached fresco; Chapel of cemetery,Monterchi
   
   
     

 

 

Piero della Francesca Madonna and Child with Saints Montefeltro Altarpiece oil painting

Painting ID::  9991

X 
 

Piero della Francesca
Madonna and Child with Saints Montefeltro Altarpiece
1472-74; Oil on pane Pinacoteca Brera,Milan
   
   
     

 

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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.