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Piero della Francesca St.Michael 02 1467 National Gallery, London
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Piero della Francesca The Baptism of Christ 02 1442 National Gallery, London
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Piero della Francesca The Duke of Urbino 1465-70 Galleria degli Uffizi, Florence
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Piero della Francesca The Duchess of Urbino 1465-70 Galleria degli Uffizi, Florence
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Piero della Francesca The Penance of St.Jerome 1450 Gemaldegalerie Dahlem, Berlin
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Piero della Francesca St.Sebastian and St.John the Baptist 1440-1460 Museo Civico, Sansepolcro
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Piero della Francesca Polyptych of the Misericordia 1460-62;
Oil and temper
a on panel;
Pinacoteca Comuale
Sansepolcro
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Piero della Francesca Polyptych of the Misericordia
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Piero della Francesca Sigismondo Pandolfo Malatesta 1451;
Oil and tempera on
panel;Louvre,Paris
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Piero della Francesca Saint Jerome and a Donor 1451; Panel;
Gallerie dell'
Accademia,Venice
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Piero della Francesca Madonna di Senigallia early 1470's; Galleria
Nazionale delle
Marche, Urbino
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Piero della Francesca Annuncciation c.1455; Fresco
San Francesco
Arezzo
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Piero della Francesca Carrying the Sacred Wood 1455; Fresco
San Francesco,Arezzo
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Piero della Francesca Saint Mary Magdalen 1460; Fresco;
Duomo, Arezzo
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Piero della Francesca Constantine s Dream 1455; Fresco;
San Francesco,Arezzo
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Piero della Francesca Resurrection 1463-65;
Mural in fresco and
tempera;Pinacoteca
Comunale,Sansepolcro
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Piero della Francesca Polyptych of Saint Augustine 460-70
Oil and tempera
on panel; panels are
in different museums
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Piero della Francesca Polyptych of Saint Augustine fy 1460-70
Oil and tempera
on panel; panels in
different museums
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Piero della Francesca Madonna del parto 1467; Detached
fresco; Chapel of
cemetery,Monterchi
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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
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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.
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