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Exaltation of the Cross-inhabitants of Jerusalem
new16/Piero della Francesca-295584.jpg
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Exaltation_of_the_Cross-inhabitants_of_Jerusalem
c. 1466 Fresco,
390 x 747 cm
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The Battle of Heraclius and Chosroes
new16/Piero della Francesca-796785.jpg
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The_Battle_of_Heraclius_and_Chosroes
mk176
c.1452-57
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Portrait of Battista Sforza
new16/Piero della Francesca-869863.jpg
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Portrait_of_Battista_Sforza
mk176
after 1474
panel
46.9x33cm
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The battle between Heraklius and Chosroes
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The_battle_between_Heraklius_and_Chosroes
mk178
after 1447 frescos Arezzo, San Francesco
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Baptism of Christ
new18/Piero della Francesca-937582.jpg
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Baptism_of_Christ
mk191
Circa 1442
Tempera on the board
167x116cm
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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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