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In 1445, the Compagnia della Misericordia, a confraternity of Borgo San Sepolcro, commissioned Piero, a native of the town, to paint a polyptych for them. According to the taste of the time, the polyptych was to be painted with precious colours and have a gilded background. Piero did not respect the three-year time limit set in the contract—he was busy working on many other projects. The polyptych was only finished seventeen years later, in 1462.
The oldest two panels, to the left of the main panel, depict St Sebastian and John the Baptist. St Sebastian's panel shows a close connection with Masaccio's nudes, which Piero would have seen in an early visit to Florence. Piero painted the outlying panels of the tympanum later; including the Crucifixion at the top centre, St Benedict, the Angel, the Madonna of the Annunciation, and St Francis in the sides. Towards 1450 he finished the figures of St. Andrew and St. Bernardino. The predellas, with five scenes of Jesus's life, were mostly executed by assistants.
The last part of the polyptych to be painted was the main central panel showing the Madonna della Misericordia. The panel portrays the mercifully protective gesture of the Madonna enfolding her followers in her mantle.
Piero resolves the difficulty of dealing with a flat solid gilded background, requested by the patrons, by placing the kneeling members of the confraternity (who commissioned the altarpiece) in the realistic three-dimensional space created by the Madonna's mantle, a space resembling the apse of a church. Notably, the Madonna is still portrayed larger in size than the human figures, a tradition in medieval painting. However, the fully three-dimensional rendering of the figure, inspired by Masaccio, and the perspective study, inspired by Brunelleschi, are plainly of the Renaissance.
Montenegro, Riccardo (May 2007). "Un'arte per tutte le stagioni". Medioevo (124): 34–35.
January 01, 1970
polyptych, misericordia, help, expand, this, article, with, text, translated, from, corresponding, article, french, april, 2019, click, show, important, translation, instructions, view, machine, translated, version, french, article, machine, translation, like,. You can help expand this article with text translated from the corresponding article in French April 2019 Click show for important translation instructions View a machine translated version of the French article Machine translation like DeepL or Google Translate is a useful starting point for translations but translators must revise errors as necessary and confirm that the translation is accurate rather than simply copy pasting machine translated text into the English Wikipedia Do not translate text that appears unreliable or low quality If possible verify the text with references provided in the foreign language article You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation A model attribution edit summary is Content in this edit is translated from the existing French Wikipedia article at fr Polyptyque de la Misericorde Piero della Francesca see its history for attribution You may also add the template Translated fr Polyptyque de la Misericorde Piero della Francesca to the talk page For more guidance see Wikipedia Translation The Polyptych of the Misericordia is a painting conserved in the Museo Civico di Sansepolcro in the town of Sansepolcro region of Tuscany Italy The painting is one of the earliest works of the Italian Renaissance painter Piero della Francesca who was born in the town The central panel is of the common motif of the Virgin of Mercy or Madonna della Misericordia Madonna della MisericordiaArtistPiero della FrancescaYear1460 1462TypeTempera and oil on panelDimensions180 cm 71 in LocationPinacoteca Comunale Sansepolcro The larger setting In 1445 the Compagnia della Misericordia a confraternity of Borgo San Sepolcro commissioned Piero a native of the town to paint a polyptych for them According to the taste of the time the polyptych was to be painted with precious colours and have a gilded background Piero did not respect the three year time limit set in the contract he was busy working on many other projects The polyptych was only finished seventeen years later in 1462 The oldest two panels to the left of the main panel depict St Sebastian and John the Baptist St Sebastian s panel shows a close connection with Masaccio s nudes which Piero would have seen in an early visit to Florence Piero painted the outlying panels of the tympanum later including the Crucifixion at the top centre St Benedict the Angel the Madonna of the Annunciation and St Francis in the sides Towards 1450 he finished the figures of St Andrew and St Bernardino The predellas with five scenes of Jesus s life were mostly executed by assistants The last part of the polyptych to be painted was the main central panel showing the Madonna della Misericordia The panel portrays the mercifully protective gesture of the Madonna enfolding her followers in her mantle Piero resolves the difficulty of dealing with a flat solid gilded background requested by the patrons by placing the kneeling members of the confraternity who commissioned the altarpiece in the realistic three dimensional space created by the Madonna s mantle a space resembling the apse of a church Notably the Madonna is still portrayed larger in size than the human figures a tradition in medieval painting However the fully three dimensional rendering of the figure inspired by Masaccio and the perspective study inspired by Brunelleschi are plainly of the Renaissance See also editConsecration and entrustment to MaryReferences editMontenegro Riccardo May 2007 Un arte per tutte le stagioni Medioevo 124 34 35 Retrieved from https en wikipedia org w index php title Polyptych of the Misericordia amp oldid 1221804213, wikipedia, wiki, book, books, library,
