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Piero della Francesca
St.Michael 02
1467 National Gallery, London
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Piero della Francesca
The Baptism of Christ 02
1442 National Gallery, London
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Piero della Francesca
The Duke of Urbino
1465-70 Galleria degli Uffizi, Florence
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Piero della Francesca
The Duchess of Urbino
1465-70 Galleria degli Uffizi, Florence
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Piero della Francesca
The Penance of St.Jerome
1450 Gemaldegalerie Dahlem, Berlin
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Piero della Francesca
St.Sebastian and St.John the Baptist
1440-1460 Museo Civico, Sansepolcro
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Piero della Francesca
Polyptych of the Misericordia
1460-62;
Oil and temper
a on panel;
Pinacoteca Comuale
Sansepolcro
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Piero della Francesca
Polyptych of the Misericordia
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Piero della Francesca
Sigismondo Pandolfo
Malatesta 1451;
Oil and tempera on
panel;Louvre,Paris
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Piero della Francesca
Saint Jerome and a Donor
1451; Panel;
Gallerie dell'
Accademia,Venice
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Piero della Francesca
Madonna di Senigallia
early 1470's; Galleria
Nazionale delle
Marche, Urbino
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Piero della Francesca
Annuncciation
c.1455; Fresco
San Francesco
Arezzo
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Piero della Francesca
Carrying the Sacred Wood
1455; Fresco
San Francesco,Arezzo
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Piero della Francesca
Saint Mary Magdalen
1460; Fresco;
Duomo, Arezzo
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Piero della Francesca
Constantine s Dream
1455; Fresco;
San Francesco,Arezzo
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Piero della Francesca
Resurrection
1463-65;
Mural in fresco and
tempera;Pinacoteca
Comunale,Sansepolcro
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Piero della Francesca
Polyptych of Saint Augustine
460-70
Oil and tempera
on panel; panels are
in different museums
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Piero della Francesca
Polyptych of Saint Augustine fy
1460-70
Oil and tempera
on panel; panels in
different museums
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Piero della Francesca
Madonna del parto
1467; Detached
fresco; Chapel of
cemetery,Monterchi
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Piero della Francesca
Madonna and Child with Saints Montefeltro Altarpiece
1472-74; Oil on pane
Pinacoteca Brera,Milan
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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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