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Piero della Francesca
Madonna and Child Attended by Angels
between 1460(1460) and 1465(1465)
Medium Oil on wood
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Piero della Francesca
Madonna and Child Attended by Angels
between 1460(1460) and 1465(1465)
Medium Oil on wood
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Piero della Francesca
Sigismondo Pandolfo Malatesta
1451(1451)
Medium oil and tempera on panel
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Piero della Francesca
Nativity
between 1470(1470) and 1475(1475)
Medium oil on poplar
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Piero della Francesca
The Flagellation
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
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
Virgin Annunciate
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
Archangel Gabriel
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
St Benedict
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
Crucifixion
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
Sts Andrew and Bernardino
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
Sts Sebastian and John the Baptist
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
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
circa 1455(1455)
Medium oil and tempera on panel
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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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