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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
the madonna del pesce
constantine's victory over chosroes, details
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Piero della Francesca
the legend of the true cross, detail
constantine's victory over chosroes, details
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Piero della Francesca
the legend of the true cross, detail
constantine's victory over chosroes, details
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Piero della Francesca
the legend of the true cross, detail
constantine's victory over chosroes, details
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Piero della Francesca
the legend of the true cross, detail
the victory of heraclius over chosroes, details
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Piero della Francesca
the legend of the true cross, detail
the victory of heraclius over chosroes, details
arezzo, san francesco
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Piero della Francesca
the flagellation, detail
urbino galleria nazionale delle marche
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Piero della Francesca
the flagellation, detail
urbino galleria nazionale delle marche
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Piero della Francesca
the flagellation, detail
urbino galleria nazionale delle marche
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Piero della Francesca
the montefeltro altarpiece, details
milan, pinacoteca di brera
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Piero della Francesca
st agatha from the predella of the st anthony polyptych
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Piero della Francesca
st claire from the predella of the st anthony polytych
perugia, galleria nationale dell'umbria
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Piero della Francesca
the montefeltro altarpiece, details
milan pinacoteca di brera
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Piero della Francesca
st romualdo, polyptych of the misericordia
sansepolcro, museo civico
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Piero della Francesca
st francis, polyptych of the misericordia
sansepolcro, museo civico
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Piero della Francesca
crucifixion
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Piero della Francesca
berlin staatliche museen tempera on panel
51 by 38cm
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Piero della Francesca
london, national gallery tempera on panel
167 by 116cm
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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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