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Piero della Francesca
the montefeltro altarpiece, details
milan, pinacoteca di brera
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Piero della Francesca
the montefeltro altarpiece
details
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Piero della Francesca
the montefeltro altarpiece
details
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Piero della Francesca
the montefeltro altarpiece
details
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Piero della Francesca
the montefeltro altarpiece
details
se
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Piero della Francesca
polyptych of the misericordia
sansepolcro, pinacoteca comunale
oil and tempera on panel
base 3.30 m height approximately 2.73m
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Piero della Francesca
Geburt Christi
1460-1475
Oil on panel
124 X 123 cm
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Piero della Francesca
Geburt Christi
Date 1460-1475
Medium Oil on panel
Dimensions Deutsch: 124 X 123 cm
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Piero della Francesca
Madonna di Senigallia
Medium Oil on canvas
Dimensions Italiano: 31 x 28 cm
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Piero della Francesca
Madonna and Child Attended by Angels
Date between 1460(1460) and 1465(1465)
Medium Oil on wood
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Piero della Francesca
Madonna di Senigallia
Oil on canvas
Dimensions Italiano: 31 x 28 cm
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Piero della Francesca
Polyptych of the Misericordia
Date between 1445(1445) and 1462(1462)
Medium Oil and tempera on panel
Dimensions Height: 273 cm (107.5 in). Width: 330 cm (129.9 in).
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Piero della Francesca
The Flagellation
Date c. 1455(1455)
Medium Oil and tempera on panel
Dimensions Height: 59 cm (23.2 in). Width: 82 cm (32.3 in).
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Piero della Francesca
Polyptych of the Misericordia
Date between 1445(1445) and 1462(1462)
Medium Oil and tempera on panel
Dimensions Height: 23 cm (9.1 in). Width: 70 cm (27.6 in).
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Piero della Francesca
Polyptych of the Misericordia: Virgin Annunciate
Date between 1445(1445) and 1462(1462)
Medium Oil and tempera on panel
Dimensions Height: 54 cm (21.3 in). Width: 21 cm (8.3 in).
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Piero della Francesca
Polyptych of the Misericordia: Archangel Gabriel
Date between 1445(1445) and 1462(1462)
Medium Oil and tempera on panel
Dimensions Height: 55 cm (21.7 in). Width: 21 cm (8.3 in).
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Piero della Francesca
Polyptych of the Misericordia: St Benedict
Date between 1445(1445) and 1462(1462)
Medium Oil and tempera on panel
Dimensions Height: 54 cm (21.3 in). Width: 21 cm (8.3 in).
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Piero della Francesca
Polyptych of the Misericordia: Crucifixion
Date between 1445(1445) and 1462(1462)
Medium Oil and tempera on panel
Dimensions Height: 81 cm (31.9 in). Width: 52 cm (20.5 in).
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Piero della Francesca
Polyptych of the Misericordia: Sts Andrew and Bernardino
Date between 1445(1445) and 1462(1462)
Medium Oil and tempera on panel
Dimensions Height: 108 cm (42.5 in). Width: 90 cm (35.4 in).
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Piero della Francesca
Polyptych of the Misericordia: Sts Sebastian and John the Baptist
Date between 1445(1445) and 1462(1462)
Medium Oil and tempera on panel
Dimensions Height: 108 cm (42.5 in). Width: 90 cm (35.4 in).
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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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