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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.
100% hand painted, 100%
cotton canvas,
100% money back if not satisfaction.
Piero della Francesca Ferderigo da Montefeltro's Wife Battista Sforza
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c.1470
Tempera on panel
47x33cm
Florence,Galleria degli Uffizi
Piero della Francesca The Discovery of the Wood of the True Cross and The Meeting of Solomon and the Queen of Sheba
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After 1452
Fresco
360x750cm
Arezzo.
San Francesco
Piero della Francesca Portrat of duke Frederico there Montefello
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1475 oils and Tempera on chalkboard 47x33cm
Galleria degli Uffizi, Florence
Piero della Francesca Dke Battista Sforza
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1475 oils and Tempera on chalkboard 47x33cm
Galleria degli Uffizi, Florence
Piero della Francesca Gallery, London baptizes Christs
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ca.1440-1145 Tempera on wood chalkboard 167x116cm The nationally
Piero della Francesca Adoration of the Holy Wood and the Meeting of Solomon and the Queen of Sheba
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1450-1465
Fresco,Choir of the Church of San Francesco
Piero della Francesca Portrait of Duke Frederico da Montefello and Battista Sfozza
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c.1465
Oil on tempera on panel
47x33cm
Piero della Francesca Portrait of Duke Frederico da Montefello and Battista Sfozza
new12/Piero della Francesca-623895.jpg mk156
c.1465
Oil and tempera on panel
47x33cm
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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