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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
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Piero della Francesca
the legend of the true cross, detail
the queen of sheba recceived by solomon
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Piero della Francesca
the legend of the true cross, detail
the queen of sheba recceived by solomon
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Piero della Francesca
the legend of the true cross, detail
the queen of sheba recceived by solomon
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Piero della Francesca
the legend of the true cross, detail
the annunciation
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Piero della Francesca
detail of plate 90
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Piero della Francesca
the legend of the true cross, detail
the dream of constantine
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Piero della Francesca
detail of plate 92
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Piero della Francesca
the legend of the true cross, detail
the verification of the cross
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Piero della Francesca
the legend of the true cross, detail
the verification of the cross
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Piero della Francesca
the legend of the true cross, detail
constantine's victory over maxentius, details
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Piero della Francesca
the legend of the true cross, detail
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Piero della Francesca
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constantine's victory over maxentius, details
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Piero della Francesca
the legend of the true cross, detail
constantine's victory over maxentius, details
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Piero della Francesca
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Piero della Francesca
the legend of the true cross, detail
constantine's victory over maxentius, details
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Piero della Francesca
the legend of the true cross, detail
the victory of heraclius over chosroes, detail
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Piero della Francesca
the legend of the true cross, detail
constantine's victory over maxentius, details
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Piero della Francesca
the legend of the true cross, detail
constantine's victory over maxentius, details
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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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