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Piero della Francesca
Battle between Heraclius and Chosroes
c. 1460
Fresco, 329 x 747 cm
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Piero della Francesca
Battle between Constantine and Maxentius
c. 1458
Fresco, 322 x 764 cm
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Piero della Francesca
Burial of the Wood
c. 1455
Fresco, 356 x 190 cm
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Piero della Francesca
Exaltation of the Cross
c. 1466
Fresco, 390 x 747 cm
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Piero della Francesca
Sigismondo Pandolfo Malatesta
1451
Oil and tempera on panel, 44 x 34 cm
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Piero della Francesca
Madonna and Child with Saints
1472-74
Oil on panel, 248 x 170 cm
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Piero della Francesca
Discovery and Proof of the True Cross
c. 1460
Fresco, 356 x 747 cm
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Piero della Francesca
Madonna of Senigallia
early 1470s,
Panel, 61 x 53,5 cm
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Piero della Francesca
Portrait of Battista Sforza
1465-66
Panel, 47 x 33 cm
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Piero della Francesca
Adoration of the Holy Wood and the Meeting of Solomon and the Queen of Sheba
c. 1452
Fresco, 336 x 747 cm
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Piero della Francesca
Torture of the Jew
c. 1455
Fresco, 356 x 193 cm
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Piero della Francesca
Federico di Montefeltro
mk83
c.1465
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Piero della Francesca
The Dream of Constantine
mk83
Fresco
329x190cm
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Piero della Francesca
Discovery and Proof of the True Cross
mk83
Fresco
356x747cm
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Piero della Francesca
Mary Magdalene
mk83
c.1468
Fresco
190x180cm
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Piero della Francesca
The Resurrection of Christ
mk83
c.1458
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Piero della Francesca
Madonna del Parto
mk83
c.1455
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Piero della Francesca
Senigallia Madonna
mk86
c.1460-1475
Tempera on wood
61x53.3cm
Urbino,Galleria Nazionale
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Piero della Francesca
The Baptism of Christ
mk86
c.1440-1450
Tempera on wood
168x116cm
London,National Gallery
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Piero della Francesca
Portrait of Federigo da Montefeltro
mk86
Tempera on panel
47x33cm
Florence
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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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