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Piero della Francesca
madonna del parto
the madonna del parto, details
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Piero della Francesca
madonna del parto
the madonna del parto, details
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Piero della Francesca
madonna del parto
the madonna del parto, details
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Piero della Francesca
sigismondo pandolfo malatesta
paris, louvre
oil and tempera on panel
44 by 34cm
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Piero della Francesca
montefel tro altarpiece
milan, pinacoteca di brera
oil on panel
248 by 170cm
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Piero della Francesca
polyptych of saint anthony
perugia, galleria nazionale dell'umbria
oil and tempera on poplar panel
338 by 230cm
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Piero della Francesca
polyptych of saint anthony
the annunciation
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Piero della Francesca
polyptych of saint anthony
the miracle of st anthony
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Piero della Francesca
polyptych of saint anthony
the stigmatisation of st francis
se
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Piero della Francesca
nativity
london, national gallery
oil on panel
124.5 by 123cm
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Piero della Francesca
the triumph of federico da montefeltro
se
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Piero della Francesca
the triumph of battista sforza
se
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Piero della Francesca
portrait of battista sforza
se
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Piero della Francesca
portrait of federico da montefeltro
se
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Piero della Francesca
senigallia madonna
urbino, galleryia nazionale delle marche
oil on panel
61 by 53.5cm
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Piero della Francesca
senigallia madonna
the senigallia madonna, details
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Piero della Francesca
senigallia madonna
the senigallia madonna, details
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Piero della Francesca
madonna and chold enthroned between four angels
williamstown, mass, sterling and francine clark art institute mixed media on panel, transferred to plywood in 1961
117.8 by 78.42cm
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Piero della Francesca
the legend of the true cross,
detail, the death of adam
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Piero della Francesca
the flagellation
detail, urbino galleria nazionale
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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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