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Piero della Francesca Polyptych of Saint Augustine oil painting reproduction


Piero della Francesca

Polyptych of Saint Augustine

460-70 Oil and tempera on panel; panels are in different museums
Painting ID::  9988
 

 

Piero della Francesca polyptych of saint augustine oil painting reproduction


Piero della Francesca

polyptych of saint augustine

st augustine se
Painting ID::  64956
 

 

Piero della Francesca polyptych of saint augustine oil painting reproduction


Piero della Francesca

polyptych of saint augustine

st michael se
Painting ID::  64957
 

 

Piero della Francesca polyptych of saint augustine oil painting reproduction


Piero della Francesca

polyptych of saint augustine

st john the evangelist se
Painting ID::  64958
 

 

Piero della Francesca polyptych of saint augustine oil painting reproduction


Piero della Francesca

polyptych of saint augustine

st nicholas of tolentino se
Painting ID::  64959
 

 

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.
polyptych of saint augustine
st nicholas of tolentino se

        
   
 

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