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Torture of the Jew
new4/Piero della Francesca-494336.jpg
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Torture_of_the_Jew
c. 1455
Fresco, 356 x 193 cm
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Federico di Montefeltro
new9/Piero della Francesca-232422.jpg
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Federico_di_Montefeltro
mk83
c.1465
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The Dream of Constantine
new9/Piero della Francesca-649723.jpg
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The_Dream_of_Constantine
mk83
Fresco
329x190cm
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Discovery and Proof of the True Cross
new9/Piero della Francesca-759979.jpg
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Discovery_and_Proof_of_the_True_Cross
mk83
Fresco
356x747cm
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Mary Magdalene
new9/Piero della Francesca-486777.jpg
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Mary_Magdalene
mk83
c.1468
Fresco
190x180cm
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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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