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The Apostle
new11/Piero della Francesca-788366.jpg
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The_Apostle
mk29
1454-69
Tempera on poplar panel
134x62.2cm
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Portrat of duke Frederico there Montefello
new12/LEONARDO da Vinci-435796.jpg
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Portrat_of_duke_Frederico_there_Montefello
mk137
1475 oils and Tempera on chalkboard 47x33cm
Galleria degli Uffizi, Florence
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Dke Battista Sforza
new12/LEONARDO da Vinci-936697.jpg
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Dke_Battista_Sforza
mk137
1475 oils and Tempera on chalkboard 47x33cm
Galleria degli Uffizi, Florence
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Gallery, London baptizes Christs
new12/Piero della Francesca-772746.jpg
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Gallery,_London_baptizes_Christs
mk137
ca.1440-1145 Tempera on wood chalkboard 167x116cm The nationally
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The Baptism of Christ
new12/Piero della Francesca-782834.jpg
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The_Baptism_of_Christ
mk156
1445
Tempera on panel
167x116cm
National Gallery,
London
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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.
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