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Details of St.Simon the apostle Painting ID:: 31725
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Piero della Francesca Details of St.Simon the apostle mk76
Painted between 1454 and 1469.
Tempera on panel
52 3/4x24 1/2in
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Augustinian monk Painting ID:: 31726
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Piero della Francesca Augustinian monk mk76
Date unknown,
Tempera on panel
15 3/4x11 1/8in
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Augustinian nun Painting ID:: 31727
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Piero della Francesca Augustinian nun mk76
Date unknown
Tempera on panel
15 1/4x11in
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The Crucifixion Painting ID:: 31728
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Piero della Francesca The Crucifixion mk76
Date unknown
Tempera on panel
14 3/4x16 3/16in
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The Death of Adam, detail of Adam and his Children Painting ID:: 32439
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Piero della Francesca The Death of Adam, detail of Adam and his Children c. 1452
Fresco, 390 x 747 cm
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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. |
Related Artists::. | School of Paris or Dijon | Diego de Carpio | Hoca Ali Riza | |
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