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Piero della Francesca
sts andrew and bernardino of siena from the polyptych of the misericordia
sansepolcro, museo civico
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Piero della Francesca
reconstruction of the annunciating angel from the detail of the madonna della misericordia, central panel of the polytych of the misericordia
sansepolcro, museo civico
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Piero della Francesca
details from the baptism of christ
london, national gallery
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Piero della Francesca
details from the baptism of chist
london national gallery
se
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Piero della Francesca
details from the baptism of chist
london national gallery
se
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Piero della Francesca
st sigismund detail from st sigismund and sigismondo
pandolfo malatesta. rimin, san francesco
se
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Piero della Francesca
sigismondo malatesta, detail from st sigismund and
sigismondo pandolfo
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Piero della Francesca
detail of the dogs from st sigismund and sigismondo pandolfo malatesta
rimini ,san francesco
se
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Piero della Francesca
detail of the castle from st sigismund and sigismondo
pandolfo malatesta, rimini, san francesco
se
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Piero della Francesca
cupid returning an arrow to the quiver
arezzo, san francesco
se
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Piero della Francesca
the legend of the true cross, detail
the veneration of the cross
se
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Piero della Francesca
the legend of the true cross, detail
the veneration of the cross
se
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Piero della Francesca
the legend of the true cross, detail
the death of adam
se
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Piero della Francesca
the legend of the true cross, detail
the death of adam
se
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Piero della Francesca
the legend of the true cross, detail
the death of adam
se
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Piero della Francesca
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Piero della Francesca
the legend of the true cross, detail
the death of adam
se
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Piero della Francesca
the legend of the true cross, detail
the death of adam
se
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Piero della Francesca
the legend of the true cross, detail
the adoration of the holy wood and the queen of sheba recceived by solomon
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Piero della Francesca
the legend of the true cross, detail
the adoration of the holy wood and the queen of sheba recceived by solomon
se
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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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