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Piero della Francesca
rimini, san francesco fresco and tempera
257 by 345cm
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Piero della Francesca
saint jerome and a worshipper
venice, gallery dell'accademia tempera and oil on panel
49 by 42cm
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Piero della Francesca
the flagellation
urbino, gallery nazionale delle marche
oil and tempera on panel
58.4 by 81.5cm
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Piero della Francesca
legend of the true cross
the veneration of the true
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Piero della Francesca
legend of the true cross
the death of adam
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Piero della Francesca
legend of the true cross
the adoration of the holy wood and the queen of sheba received by solomon
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Piero della Francesca
legend of the true cross
the discovery and proof of the true cross
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Piero della Francesca
legend of the true cross
the torture of judas the jew
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Piero della Francesca
legend of the true cross
the carrying of the holy wood
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Piero della Francesca
hercules
boston, isabella stewart gardner museum detached fresco
151 by 126cm
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Piero della Francesca
saint mary magdalen
arezzo, duomo
fresco
190 by 80cm
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Piero della Francesca
saint julian
sansepolcro, museo civico detached fresco
130 by 105cm
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Piero della Francesca
sansepolcro, museo civico
mural in fresco and tempera
225 by 200cm
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Piero della Francesca
the resurrection
details
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Piero della Francesca
the resurrection
details
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Piero della Francesca
polyptych of saint augustine
st augustine
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Piero della Francesca
polyptych of saint augustine
st michael
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Piero della Francesca
polyptych of saint augustine
st john the evangelist
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Piero della Francesca
polyptych of saint augustine
st nicholas of tolentino
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Piero della Francesca
madonna del parto
monterchi, santa maria a nomentana detached fresco
206 by 203cm
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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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