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Piero della Francesca
Saint Michael
mk170
Completed in 1469
Oil on poplar
133x59.5cm
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Piero della Francesca
The Fresco Cycle
Oil on canvas
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Piero della Francesca
St Jerome and a Donor
40 x 42 cm
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Piero della Francesca
Polyptych of the Misericordia
1445-1462
Oil and tempera on panel
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Piero della Francesca
Death of Adam
390 x 747 cm
c. 1452
Fresco
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Piero della Francesca
Exaltation of the Cross-inhabitants of Jerusalem
c. 1466 Fresco,
390 x 747 cm
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Piero della Francesca
The Battle of Heraclius and Chosroes
mk176
c.1452-57
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Piero della Francesca
Portrait of Battista Sforza
mk176
after 1474
panel
46.9x33cm
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Piero della Francesca
The battle between Heraklius and Chosroes
mk178
after 1447 frescos Arezzo, San Francesco
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Piero della Francesca
Baptism of Christ
mk191
Circa 1442
Tempera on the board
167x116cm
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Piero della Francesca
Detail of Baptism of Christ
mk191
oil on the board
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Piero della Francesca
Detail of Baptism of Christ
mk191
oil on the board
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Piero della Francesca
Detail of Baptism of Christ
mk191
oil on board
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Piero della Francesca
Detail of Baptism of Christ
mk191
oil on board
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Piero della Francesca
The Baptism of Christ
mk216
Today piero is widely regarded as the greatest painter of the mid-15th century
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Piero della Francesca
The Baptim of Christ
mk216
Today Piero is widely regarded as the greatest painter of the mid-15th century
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Piero della Francesca
Constantine-s Dream
c. 1455 Fresco,
329 x 190 cm
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Piero della Francesca
The Baptism of Christ
mk223
today piero is wiely regarded as the greatest painter of the mid-15th century
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Piero della Francesca
Christ-s baptism
mk234
1450-first century
168x117cm
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Piero della Francesca
Kristi uppstandelse
mk234
early
1450-speech
225x205cm
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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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