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Oil Paintings
Come From United Kingdom
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Piero della Francesca
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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Piero della Francesca
The Flagellation fo Christ
mk247
c.1460,oil and tempera on panel,23x32 in,58x82 cm,galleria nazionale delle marche,urbino,ltaly
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Piero della Francesca
The Resurrection of Christ
mk247
c.1463,fresco,88.675x78.75 in,225x200cm,pinacoteca civica,sansepolcro,ltaly
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Piero della Francesca
Portraits of Federico da Montefeltro and Battista Sforza
mk247
1465-66,tempera on panel,15.5x13 in,47x33 cm,uffizi,florence,ltaly
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Piero della Francesca
Brera madonna
mk247
1472-74,oil on panel,99x67 in,241x172 cm,pinacoteca di brera,milan,ltaly
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Piero della Francesca
battista sforza.hustru till federico da montefeltro
mk248 battista sforza tillborde den barskande atten i milano. hon fodde federico sju dottrar ocb en son, ocb dog vid sonens fodelse. de flesta bistoriler ansr att portrattet ett i en diptuk maladdes postumt. bakgrunden visar urbino ocb den omgivande landsbygden.
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Piero della Francesca
pala mantefeltro
mk248 altartavlan i brea madonnan och barnetnetnet med anglar. helgon och federico da montefeltro, hertig av urbino. hertigen forlorade sitt bog ocb delar av nasan under en turnering ocb avbildades alltid i vansterprofil. detta ar frmodligen della fran cescas sista verk innan ban forlorade synen, men bans masterliga proportioner ar bapnads vackande. strutsagget som banger i skalet fran en snackan symboliserar jungfru fodseln ocb upprepas i ovalen som utgor madonnans buvud, placerat exakt mitt i tavlan.
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Piero della Francesca
porteait de sigismond malatesta
mk255 about the year 1450-1451. Canvas, 0.44 meters high, 0.34 meters wide. Paris, the Louvre.
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Piero della Francesca
Wu Binuo Duke Feidailike reaches the Mongolian peaceful fil Trow portrait
mk261 Florence, Ukrainian Fiji art museum
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Piero della Francesca
The Baptism of Christ
The Baptism of Christ, 1450 (National Gallery, London).
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Piero della Francesca
The Resurrection.
The Resurrection.
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Piero della Francesca
Madonna della Misericordia
Madonna della Misericordia
Piero della Francesca, 1460-1462
Oil and tempera on panel
Pinacoteca Comunale, Sansepolcro
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Piero della Francesca
Portrait of Sigismondo Pandolfo Malatesta
Portrait of Sigismondo Pandolfo Malatesta
Piero della Francesca, c. 1451
Oil and tempera on panel, 44.5 ?? 34.5 cm
Paris, Mus??e du Louvre
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Piero della Francesca
Flagellation of Christ
Flagellation of Christ
Piero della Francesca, probably 1455?C1460
Oil and tempera on panel
58.4 ?? 81.5 cm
Galleria Nazionale delle Marche, Urbino
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Piero della Francesca
Madonna del Parto
Madonna del Parto
Piero della Francesca, after 1457
detached fresco
Museo della Madonna del Parto, Monterchi
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Piero della Francesca
Polyptych of Perugia
Polyptych of Perugia
Piero della Francesca, c. 1470
Oil and tempera on panel
338 ?? 230 cm
Galleria Nazionale dell'Umbria, Perugia
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Piero della Francesca
The Brera Madonna
The Brera Madonna
Piero della Francesca, 1472
Tempera on panel
248 ?? 150 cm
Pinacoteca di Brera, Milan
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Piero della Francesca
Madonna di Senigallia
Madonna di Senigallia
Piero della Francesca, c. 1474
Oil on panel
67 ?? 53.5 cm
Galleria Nazionale delle Marche, Urbino
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Piero della Francesca
the discovery of the true
cross, during restoration in 1990
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Piero della Francesca
madonna della misericordia, central panel of the polyptych of the misericordia
sansepolcro, museo civico
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Piero della Francesca
sts sebastian and john the baptist from the polyptych of the misericordia
sansepolcro, museo civico
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| Piero della Francesca
|
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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