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Paolo Uccello

June 08, 2023

Paolo Uccello (/uːˈtʃɛloʊ/ oo-CHEL-oh, Italian: [ˈpaːolo utˈtʃɛllo]; 1397 – 10 December 1475), born Paolo di Dono, was an Italian painter and mathematician who was notable for his pioneering work on visual perspective in art. In his book Lives of the Most Excellent Painters, Sculptors, and Architects, Giorgio Vasari wrote that Uccello was obsessed by his interest in perspective and would stay up all night in his study trying to grasp the exact vanishing point. While his contemporaries used perspective to narrate different or succeeding stories, Uccello used perspective to create a feeling of depth in his paintings. His best known works are the three paintings representing the battle of San Romano, which were wrongly entitled the Battle of Sant'Egidio of 1416 for a long period of time.[1]

Paolo Uccello
Portrait of Paolo Uccello (unknown artist)
Louvre Museum, Paris
Born
Paolo di Dono

1397 (1397)
Pratovecchio, Republic of Florence
Died10 December 1475 (aged 77–78)
Florence, Republic of Florence
NationalityItalian
EducationLorenzo Ghiberti
Known forPainting, fresco
Notable workFunerary Monument to Sir John Hawkwood, Saint George and the Dragon, The Battle of San Romano
MovementEarly Renaissance

Paolo worked in the Late Gothic tradition, emphasizing colour and pageantry rather than the classical realism that other artists were pioneering. His style is best described as idiosyncratic, and he left no school of followers. He has had some influence on twentieth-century art and literary criticism (e.g., in the Vies imaginaires by Marcel Schwob, Uccello le poil by Antonin Artaud and O Mundo Como Ideia by Bruno Tolentino).

Early life and training

The sources for Paolo Uccello's life are few: Giorgio Vasari’s biography, written 75 years after Paolo’s death, and a few contemporary official documents. Due to the lack of sources, even his date of birth is questionable. It is believed that Uccello was born in Pratovecchio in 1397,[2] and his tax declarations for some years indicate that he was born in 1397, but in 1446 he claimed to have been born in 1396.[3] His father, Dono di Paolo, was a barber-surgeon from Pratovecchio near Arezzo; his mother, Antonia, was a high-born Florentine. His nickname Uccello came from his fondness for painting birds.

From 1412 until 1416 he was apprenticed to the famous sculptor Lorenzo Ghiberti.[4] Ghiberti was the designer of the doors of the Florence Baptistery and his workshop was the premier centre for Florentine art at the time. Ghiberti's late-Gothic, narrative style and sculptural composition greatly influenced Paolo. It was also around this time that Paolo began his lifelong friendship with Donatello. In 1414, Uccello was admitted to the painters' guild, Compagnia di San Luca, and just one year later, in 1415, he joined the official painter's guild of Florence Arte dei Medici e degli Speziali. Although the young Uccello had probably left Ghiberti's workshop by the mid 1420s, he stayed on good terms with his master and may have been privy to the designs for Ghiberti's second set of Baptistery doors, The Gates of Paradise. These featured a battle scene "that might well have impressed itself in the mind of the young Uccello," and thus influenced The Battle of San Romano.[5]

Career

 
Saint George and the Dragon (c. 1470), showing Uccello's Gothic influences

According to Vasari, Uccello's first painting was a Saint Anthony between the saints Cosmas and Damianus, a commission for the hospital of Lelmo. Next, he painted two figures in the convent of Annalena. Shortly afterwards, he painted three frescoes with scenes from the life of Saint Francis above the left door of the Santa Trinita church. For the Santa Maria Maggiore church, he painted a fresco of the Annunciation. In this fresco, he painted a large building with columns in perspective. According to Vasari, people found this to be a great and beautiful achievement because this was the first example of how lines could be expertly used to demonstrate perspective and size. As a result, this work became a model for artists who wished to craft illusions of space in order to enhance the realness of their paintings.[6]

Paolo painted the Lives of the Church Fathers in the cloisters of the church of San Miniato, which sat on a hill overlooking Florence. According to Vasari, Paolo protested against the monotonous meals of cheese pies and cheese soup served by the abbot by running away, and returned to finish the job only after the abbot promised him a more varied diet.[7]

Uccello was asked to paint a number of scenes of distempered animals for the house of the Medici. The scene most appreciated by Vasari was his depiction of a fierce lion fighting with a venom-spouting snake. Uccello loved to paint animals and he kept a wide variety of pictures of animals, especially birds, at home. This love for birds is what led to his nickname, Paolo Uccelli (Paul of the birds).

By 1424, Paolo was earning his own living as a painter. In that year, he proved his artistic maturity by painting episodes of the now-badly-damaged Creation and the Fall for the Green Cloister (Chiostro Verde) of Santa Maria Novella in Florence. Again, this assignment allowed him to paint a large number of animals in a lively manner. He also succeeded in painting trees in their natural colours. This was a skill that was difficult for many of his predecessors, so Uccello also began to acquire a reputation for painting landscapes. He followed this with Scenes from the Life of Noah, also for the Green Cloister. These scenes brought him great fame in Florence.

In 1425, Uccello travelled to Venice, where he worked on the mosaics for the façade of San Marco, which have all since been lost. During this time, he also painted some frescoes in the Prato Cathedral and Bologna. Some suggest he visited Rome with his friend Donatello before returning to Florence in 1431. After he returned, Uccello remained in Florence for most of the rest of his life, executing works for various churches and patrons, most notably the Duomo.

Despite his leave from Florence, interest in Uccello did not diminish. In 1432, the Office of Works asked the Florentine ambassador in Venice to enquire after Uccello's reputation as an artist. In 1436, he was given the commission for the monochromatic fresco of Sir John Hawkwood. This equestrian monument exemplified his keen interest in perspective. The condottiere and his horse are presented as if the fresco was a sculpture seen from below.

It is widely thought that he is the author of the frescoes Stories of the Virgin and Story of Saint Stephen in the Cappella dell'Assunta, Florence, so he likely visited nearby Prato sometime between 1435 and 1440. Later, in 1443, he painted the figures on the clock of the Duomo. In that same year and continuing into 1444, he designed a few stained glass windows for the same church. In 1444 he was also at work in Padua, and he travelled to Padua again in 1445 at Donatello's invitation.

Back in Florence in 1446, he painted the Green Stations of the Cross, again for the cloister of the church Santa Maria Novella. Around 1447–1454 he painted Scenes of Monastic Life for the church San Miniato al Monte, Florence.

Battle of San Romano paintings

Around the mid-1450s,[4] he painted his three most famous paintings, the panels depicting The Battle of San Romano for the Palazzo Medici in Florence, commemorating the victory of the Florentine army over the Sienese in 1432. The extraordinarily foreshortened forms extending in many planes accentuate Uccello's virtuosity as a draftsman, and provides a controlled visual structure to the chaos of the battle scene.

Later life

By 1453, Uccello was married to Tommasa Malifici. This is known because, in that year Donato (named after Donatello), was born. Three years later, in 1456, his wife gave birth to their daughter, Antonia.[4] Antonia Uccello (1456–1491)[10] was a Carmelite nun, whom Giorgio Vasari called "a daughter who knew how to draw." She was even noted as a "pittoressa", a painter, on her death certificate. Her style and her skill remains a mystery as none of her work is extant.

From 1465 to 1469, Uccello was in Urbino with his son Donato working for the Confraternity of Corpus Domini, a brotherhood of laymen. During this time, he painted the predella for their new altarpiece with the Miracle of the Profaned Host. (The main panel representing the "Communion of the Apostles" was commissioned to Justus van Ghent and finished in 1474). Uccello's predella is composed of six meticulous, naturalistic scenes related to the antisemitic myth of host desecration, which was based upon an event that supposedly occurred in Paris in 1290. It has been suggested that the subject of the main panel, on which Duke Frederick of Montefeltro of Urbino appears in the background conversing with an Asian, is related to the antisemitic intention of the predella. However, Federico did allow a small Jewish community to live in Urbino and not all of these scenes are unanimously attributed to Paolo Uccello.[11]

 
A scene in Paolo Uccello's Corpus Domini predella (c. 1465–1468), set in a Jewish pawnbroker's home. Blood in the background emanates from the Host, which the moneylender has attempted to cook, and seeps under the door. This story first entered the Italian literary tradition via Giovanni Villani (c. 1280–1348) and his Nuova Cronica.

In his Florentine tax return of August 1469, Uccello declared, "I find myself old and ailing, my wife is ill, and I can no longer work." In the last years of his life, Paolo was a lonesome and forgotten man who was afraid of hardship in life. His last known work is The Hunt, c. 1470. He made his testament on 11 November 1475 and died shortly afterwards on 10 December 1475 at the hospital of Florence, at the age of 78. He was buried in his father's tomb in the Florentine church of Santo Spirito.

With his precise and analytical mind, Paolo Uccello tried to apply a scientific method to depict objects in three-dimensional space. In particular, some of his studies of the perspective foreshortening of the torus are preserved, and one standard display of drawing skill was his depiction of the mazzocchio.[12] In the words of G. C. Argan: "Paolo's rigour is similar to the rigour of Cubists in the early 20th century, whose images were more true when they were less true to life. Paolo constructs space through perspective, and historic event through the structure of space; if the resulting image is unnatural and unrealistic, so much the worse for nature and history."[13] The perspective in his paintings has influenced many famous painters, such as Piero della Francesca, Albrecht Dürer and Leonardo da Vinci, to name a few.

Works

Pope-Hennessy is far more conservative than the Italian authors: he attributes some of the works below to a "Prato Master" and a "Karlsruhe Master". Most of the dates in the list (taken from Borsi and Borsi) are derived from stylistic comparison rather than from documentation.

 
Clock in the Duomo, Florence
 
Marble mosaic showing a small stellated dodecahedron and a ring of hexagonal prisms, on the floor of St Mark's Basilica, Venice

Notes and references

Notes

References

  1. ^ Herbermann, Charles, ed. (1913). "Uccello" . Catholic Encyclopedia. New York: Robert Appleton Company.
  2. ^ Private Life of a Masterpiece, BBC TV
  3. ^ Borsi, Franco & Borsi, Stefano. Paolo Uccello. pp. 15, 34. London: Thames & Hudson, 1994.
  4. ^ a b c Lloyd, Christopher. "Uccello, Paolo." Grove Art Online. Oxford Art Online. Oxford University Press. Web.
  5. ^ Private Life of a Masterpiece BBC TV
  6. ^ Vasari, Giorgio (1998-04-02). The Lives of the Artists. OUP Oxford. ISBN 9780191605482.
  7. ^ Barolsky, Paul. Why Mona Lisa Smiles and Other Tales by Vasari. Penn State Press, 2010. p. 24. ISBN 0271038527.
  8. ^ National Gallery Catalogues: The Fifteenth Century Italian Paintings, Volume 1, by Dillian Gordon, 2003, pp. 378–397 ISBN 1-85709-293-7
  9. ^ «and not Ciarda, as he is often referred to" (Lorenzo Sbaraglio, Paolo di Dono, detto Paolo Uccello, in Dizionario Biografico degli Italiani - Volume 81 - 2014).
  10. ^ Echols, Anne; Marty Williams. An annotated index of medieval women. Markus Wiener Publishers, 1992, p. 61. ISBN 0-910129-27-4
  11. ^ The Art Bulletin:85 (December 2003)
  12. ^ Emmer, Michele. "Art and Mathematics: The Platonic Solids." Leonardo 15(4): 277-282 (Autumn, 1982).
  13. ^ Argan, Giulio Carlo (1968). Storia dell'arte italiana (in Italian). Vol. 2. Sansoni. p. 186. ISBN 9788838319136.
  14. ^ "The Battle of Greeks and Amazons before the Walls of Troy; Allegories of Faith and Justice; and Reclining Nude | Yale University Art Gallery". artgallery.yale.edu. Retrieved 2022-03-05.

Sources

  • Giorgio Vasari's life of Paolo Uccello translated by George Bull in Lives of the Artists, Part 1. Penguin Classics, 1965.
  • D'Ancona, Paola. Paolo Uccello. New York: McGraw Hill, 1961.
  • Borsi, Franco & Borsi, Stefano. Paolo Uccello. London: Thames & Hudson, 1994. (a massive monograph)
  • Borsi, Stefano. Paolo Uccello. Art Dossier. Florence: Giunti, nd.
  • Carli, Enzo. All the Paintings of Paolo Uccello. The Complete Library of World Art. London: Oldbourne, 1963. (originally published in Italian in the 1950s)
  • Hudson, Hugh. Paolo Uccello: Artist of the Florentine Renaissance Republic. Saarbrücken: VDM Verlag Dr. Mueller, 2008.
  • Hudson, Hugh. "From Via della Scala to the Cathedral: Social Spaces and the Visual Arts in Paolo Uccello’s Florence". Place: An Interdisciplinary e-journal, 2007.
  • Lavin, Marilyn Aronberg (1967). "The Altar of Corpus Domini in Urbino: Paolo Uccello, Joos Van Ghent, Piero della Francesca". Art Bulletin. 49 (1): 1–24. doi:10.2307/3048425. JSTOR 3048425.
  • Manescalchi, Roberto. Paolo Uccello: un affresco dimenticato?. Florence: Grafica European Center of Fine Arts, 2006. ISBN 978-88-95450-19-3
  • Paolieri, Annarita. Paolo Uccello, Domenico Veneziano, Andrea del Castagno. Library of Great Masters. New York: SCALA/Riverside, 1991.
  • Pope-Hennessy, John. Paolo Uccello: Complete Edition. 2nd ed. London: Phaidon, 1969. (the other important English-language monograph)
  • Singh, Iona (2012). "Visual Syntax". Color, Facture, Art & Design. United Kingdom: Zero Books. pp. 65–82.

External links

 
Wikimedia Commons has media related to Paolo Uccello.
  • Web Gallery of Art: Paolo Uccello
  • Florence Art Guide: Paolo Uccello
  • www.paolouccello.org - Works by Paolo Uccello
  • (in Italian)
  • Paolo Uccello's Polyhedra
  • Ron Schuler's Parlour Tricks: Getting Some Perspective

June 08, 2023
paolo, uccello, chel, italian, ˈpaːolo, utˈtʃɛllo, 1397, december, 1475, born, paolo, dono, italian, painter, mathematician, notable, pioneering, work, visual, perspective, book, lives, most, excellent, painters, sculptors, architects, giorgio, vasari, wrote, . Paolo Uccello uː ˈ tʃ ɛ l oʊ oo CHEL oh Italian ˈpaːolo utˈtʃɛllo 1397 10 December 1475 born Paolo di Dono was an Italian painter and mathematician who was notable for his pioneering work on visual perspective in art In his book Lives of the Most Excellent Painters Sculptors and Architects Giorgio Vasari wrote that Uccello was obsessed by his interest in perspective and would stay up all night in his study trying to grasp the exact vanishing point While his contemporaries used perspective to narrate different or succeeding stories Uccello used perspective to create a feeling of depth in his paintings His best known works are the three paintings representing the battle of San Romano which were wrongly entitled the Battle of Sant Egidio of 1416 for a long period of time 1 Paolo UccelloPortrait of Paolo Uccello unknown artist Louvre Museum ParisBornPaolo di Dono1397 1397 Pratovecchio Republic of FlorenceDied10 December 1475 aged 77 78 Florence Republic of FlorenceNationalityItalianEducationLorenzo GhibertiKnown forPainting frescoNotable workFunerary Monument to Sir John Hawkwood Saint George and the Dragon The Battle of San RomanoMovementEarly RenaissancePaolo worked in the Late Gothic tradition emphasizing colour and pageantry rather than the classical realism that other artists were pioneering His style is best described as idiosyncratic and he left no school of followers He has had some influence on twentieth century art and literary criticism e g in the Vies imaginaires by Marcel Schwob Uccello le poil by Antonin Artaud and O Mundo Como Ideia by Bruno Tolentino Contents 1 Early life and training 2 Career 3 Battle of San Romano paintings 4 Later life 5 Works 6 Notes and references 6 1 Notes 6 2 References 7 Sources 8 External linksEarly life and training EditThe sources for Paolo Uccello s life are few Giorgio Vasari s biography written 75 years after Paolo s death and a few contemporary official documents Due to the lack of sources even his date of birth is questionable It is believed that Uccello was born in Pratovecchio in 1397 2 and his tax declarations for some years indicate that he was born in 1397 but in 1446 he claimed to have been born in 1396 3 His father Dono di Paolo was a barber surgeon from Pratovecchio near Arezzo his mother Antonia was a high born Florentine His nickname Uccello came from his fondness for painting birds From 1412 until 1416 he was apprenticed to the famous sculptor Lorenzo Ghiberti 4 Ghiberti was the designer of the doors of the Florence Baptistery and his workshop was the premier centre for Florentine art at the time Ghiberti s late Gothic narrative style and sculptural composition greatly influenced Paolo It was also around this time that Paolo began his lifelong friendship with Donatello In 1414 Uccello was admitted to the painters guild Compagnia di San Luca and just one year later in 1415 he joined the official painter s guild of Florence Arte dei Medici e degli Speziali Although the young Uccello had probably left Ghiberti s workshop by the mid 1420s he stayed on good terms with his master and may have been privy to the designs for Ghiberti s second set of Baptistery doors The Gates of Paradise These featured a battle scene that might well have impressed itself in the mind of the young Uccello and thus influenced The Battle of San Romano 5 Career Edit Funerary Monument to Sir John Hawkwood Saint George and the Dragon c 1470 showing Uccello s Gothic influences According to Vasari Uccello s first painting was a Saint Anthony between the saints Cosmas and Damianus a commission for the hospital of Lelmo Next he painted two figures in the convent of Annalena Shortly afterwards he painted three frescoes with scenes from the life of Saint Francis above the left door of the Santa Trinita church For the Santa Maria Maggiore church he painted a fresco of the Annunciation In this fresco he painted a large building with columns in perspective According to Vasari people found this to be a great and beautiful achievement because this was the first example of how lines could be expertly used to demonstrate perspective and size As a result this work became a model for artists who wished to craft illusions of space in order to enhance the realness of their paintings 6 Paolo painted the Lives of the Church Fathers in the cloisters of the church of San Miniato which sat on a hill overlooking Florence According to Vasari Paolo protested against the monotonous meals of cheese pies and cheese soup served by the abbot by running away and returned to finish the job only after the abbot promised him a more varied diet 7 Uccello was asked to paint a number of scenes of distempered animals for the house of the Medici The scene most appreciated by Vasari was his depiction of a fierce lion fighting with a venom spouting snake Uccello loved to paint animals and he kept a wide variety of pictures of animals especially birds at home This love for birds is what led to his nickname Paolo Uccelli Paul of the birds By 1424 Paolo was earning his own living as a painter In that year he proved his artistic maturity by painting episodes of the now badly damaged Creation and the Fall for the Green Cloister Chiostro Verde of Santa Maria Novella in Florence Again this assignment allowed him to paint a large number of animals in a lively manner He also succeeded in painting trees in their natural colours This was a skill that was difficult for many of his predecessors so Uccello also began to acquire a reputation for painting landscapes He followed this with Scenes from the Life of Noah also for the Green Cloister These scenes brought him great fame in Florence In 1425 Uccello travelled to Venice where he worked on the mosaics for the facade of San Marco which have all since been lost During this time he also painted some frescoes in the Prato Cathedral and Bologna Some suggest he visited Rome with his friend Donatello before returning to Florence in 1431 After he returned Uccello remained in Florence for most of the rest of his life executing works for various churches and patrons most notably the Duomo Despite his leave from Florence interest in Uccello did not diminish In 1432 the Office of Works asked the Florentine ambassador in Venice to enquire after Uccello s reputation as an artist In 1436 he was given the commission for the monochromatic fresco of Sir John Hawkwood This equestrian monument exemplified his keen interest in perspective The condottiere and his horse are presented as if the fresco was a sculpture seen from below It is widely thought that he is the author of the frescoes Stories of the Virgin and Story of Saint Stephen in the Cappella dell Assunta Florence so he likely visited nearby Prato sometime between 1435 and 1440 Later in 1443 he painted the figures on the clock of the Duomo In that same year and continuing into 1444 he designed a few stained glass windows for the same church In 1444 he was also at work in Padua and he travelled to Padua again in 1445 at Donatello s invitation Back in Florence in 1446 he painted the Green Stations of the Cross again for the cloister of the church Santa Maria Novella Around 1447 1454 he painted Scenes of Monastic Life for the church San Miniato al Monte Florence Battle of San Romano paintings EditAround the mid 1450s 4 he painted his three most famous paintings the panels depicting The Battle of San Romano for the Palazzo Medici in Florence commemorating the victory of the Florentine army over the Sienese in 1432 The extraordinarily foreshortened forms extending in many planes accentuate Uccello s virtuosity as a draftsman and provides a controlled visual structure to the chaos of the battle scene Niccolo Mauruzi da Tolentino at the Battle of San Romano probably c 1438 1440 egg tempera with walnut oil and linseed oil on poplar 182 320 cm National Gallery London 8 Niccolo Mauruzi da Tolentino unseats Bernardino della Carda 9 at the Battle of San Romano dating uncertain c 1435 1455 tempera on wood 182 320 cm Galleria degli Uffizi Florence The Counterattack of Michelotto da Cotignola at the Battle of San Romano c 1455 wood panel 182 317 cm Musee du Louvre ParisLater life EditBy 1453 Uccello was married to Tommasa Malifici This is known because in that year Donato named after Donatello was born Three years later in 1456 his wife gave birth to their daughter Antonia 4 Antonia Uccello 1456 1491 10 was a Carmelite nun whom Giorgio Vasari called a daughter who knew how to draw She was even noted as a pittoressa a painter on her death certificate Her style and her skill remains a mystery as none of her work is extant From 1465 to 1469 Uccello was in Urbino with his son Donato working for the Confraternity of Corpus Domini a brotherhood of laymen During this time he painted the predella for their new altarpiece with the Miracle of the Profaned Host The main panel representing the Communion of the Apostles was commissioned to Justus van Ghent and finished in 1474 Uccello s predella is composed of six meticulous naturalistic scenes related to the antisemitic myth of host desecration which was based upon an event that supposedly occurred in Paris in 1290 It has been suggested that the subject of the main panel on which Duke Frederick of Montefeltro of Urbino appears in the background conversing with an Asian is related to the antisemitic intention of the predella However Federico did allow a small Jewish community to live in Urbino and not all of these scenes are unanimously attributed to Paolo Uccello 11 A scene in Paolo Uccello s Corpus Domini predella c 1465 1468 set in a Jewish pawnbroker s home Blood in the background emanates from the Host which the moneylender has attempted to cook and seeps under the door This story first entered the Italian literary tradition via Giovanni Villani c 1280 1348 and his Nuova Cronica In his Florentine tax return of August 1469 Uccello declared I find myself old and ailing my wife is ill and I can no longer work In the last years of his life Paolo was a lonesome and forgotten man who was afraid of hardship in life His last known work is The Hunt c 1470 He made his testament on 11 November 1475 and died shortly afterwards on 10 December 1475 at the hospital of Florence at the age of 78 He was buried in his father s tomb in the Florentine church of Santo Spirito With his precise and analytical mind Paolo Uccello tried to apply a scientific method to depict objects in three dimensional space In particular some of his studies of the perspective foreshortening of the torus are preserved and one standard display of drawing skill was his depiction of the mazzocchio 12 In the words of G C Argan Paolo s rigour is similar to the rigour of Cubists in the early 20th century whose images were more true when they were less true to life Paolo constructs space through perspective and historic event through the structure of space if the resulting image is unnatural and unrealistic so much the worse for nature and history 13 The perspective in his paintings has influenced many famous painters such as Piero della Francesca Albrecht Durer and Leonardo da Vinci to name a few Works EditPope Hennessy is far more conservative than the Italian authors he attributes some of the works below to a Prato Master and a Karlsruhe Master Most of the dates in the list taken from Borsi and Borsi are derived from stylistic comparison rather than from documentation Clock in the Duomo Florence Marble mosaic showing a small stellated dodecahedron and a ring of hexagonal prisms on the floor of St Mark s Basilica Venice Annunciation c 1420 1425 Ashmolean Museum Oxford Crucifixion with Two Angels c 1423 Private collection Creation and Fall c 1424 1425 Lunette and lower section Chiostro Verde Santa Maria Novella Florence Adoration of the Magi c 1431 1432 Staatliche Kunsthalle Karlsruhe Perspective Study of a Vase c 1430 Uffizi Gallery Florence Saint George Slaying the Dragon c 1430 National Gallery of Victoria Melbourne Quarate Predella c 1433 Museo diocesano di Santo Stefano al Ponte Florence Frescoes in the Capella dell Assunta c 1434 1435 Duomo Prato Nun Saint with Two Children c 1434 1435 Contini Bonacosi Collection Florence Funerary Monument to Sir John Hawkwood c 1436 Duomo Florence The Battle of San Romano consisting of Battle of San Romano Niccolo da Tolentino c 1450 1456 National Gallery London Battle of San Romano Bernadino della Ciarda unhorsed c 1450 1456 Galleria degli Uffizi Florence Battle of San Romano Micheletto da Cotignola c 1450 Musee du Louvre ParisSt George and the Dragon c 1439 1440 Musee Jacquemart Andre Paris Clock Face with Four Prophets Evangelists 1443 Duomo Florence Resurrection 1443 1444 stained glass window Duomo Florence Nativity 1443 1444 stained glass window Duomo Florence Story of Noah c 1447 lunette and lower section Chiostro Verde Santa Maria Novella Florence Scenes of Monastic Life c 1447 1454 S Miniato al Monte Florence Saint George and the Dragon c 1450 55 National Gallery London Crucifixion c 1457 1458 Thyssen Bornemisza Collection Madrid Life of the Holy Fathers c 1460 1465 Accademia Florence Miracle of the Profaned Host 1467 1468 predella Galleria Nazionale delle Marche Palazzo Ducale Urbino The Hunt in the Forest c 1470 Ashmolean Museum Oxford The Battle of Greeks and Amazons Before the Walls of Troy Allegories of Faith and Justice and Reclining Nude 14 c 1460 chest Yale University Art Gallery New Haven ConnecticutNotes and references EditNotes Edit References Edit Herbermann Charles ed 1913 Uccello Catholic Encyclopedia New York Robert Appleton Company Private Life of a Masterpiece BBC TV Borsi Franco amp Borsi Stefano Paolo Uccello pp 15 34 London Thames amp Hudson 1994 a b c Lloyd Christopher Uccello Paolo Grove Art Online Oxford Art Online Oxford University Press Web Private Life of a Masterpiece BBC TV Vasari Giorgio 1998 04 02 The Lives of the Artists OUP Oxford ISBN 9780191605482 Barolsky Paul Why Mona Lisa Smiles and Other Tales by Vasari Penn State Press 2010 p 24 ISBN 0271038527 National Gallery Catalogues The Fifteenth Century Italian Paintings Volume 1 by Dillian Gordon 2003 pp 378 397 ISBN 1 85709 293 7 and not Ciarda as he is often referred to Lorenzo Sbaraglio Paolo di Dono detto Paolo Uccello in Dizionario Biografico degli Italiani Volume 81 2014 Echols Anne Marty Williams An annotated index of medieval women Markus Wiener Publishers 1992 p 61 ISBN 0 910129 27 4 Katz Dana E The contours of tolerance Jews and the Corpus Domini Altarpiece in Urbino The Art Bulletin 85 December 2003 Emmer Michele Art and Mathematics The Platonic Solids Leonardo 15 4 277 282 Autumn 1982 Argan Giulio Carlo 1968 Storia dell arte italiana in Italian Vol 2 Sansoni p 186 ISBN 9788838319136 The Battle of Greeks and Amazons before the Walls of Troy Allegories of Faith and Justice and Reclining Nude Yale University Art Gallery artgallery yale edu Retrieved 2022 03 05 Sources EditGiorgio Vasari s life of Paolo Uccello translated by George Bull in Lives of the Artists Part 1 Penguin Classics 1965 D Ancona Paola Paolo Uccello New York McGraw Hill 1961 Barolsky Paul The Painter Who Almost Became a Cheese Virginia Quarterly Review 70 1 Winter 1994 Borsi Franco amp Borsi Stefano Paolo Uccello London Thames amp Hudson 1994 a massive monograph Borsi Stefano Paolo Uccello Art Dossier Florence Giunti nd Carli Enzo All the Paintings of Paolo Uccello The Complete Library of World Art London Oldbourne 1963 originally published in Italian in the 1950s Hudson Hugh Paolo Uccello Artist of the Florentine Renaissance Republic Saarbrucken VDM Verlag Dr Mueller 2008 Hudson Hugh From Via della Scala to the Cathedral Social Spaces and the Visual Arts in Paolo Uccello s Florence Place An Interdisciplinary e journal 2007 Lavin Marilyn Aronberg 1967 The Altar of Corpus Domini in Urbino Paolo Uccello Joos Van Ghent Piero della Francesca Art Bulletin 49 1 1 24 doi 10 2307 3048425 JSTOR 3048425 Manescalchi Roberto Paolo Uccello un affresco dimenticato Florence Grafica European Center of Fine Arts 2006 ISBN 978 88 95450 19 3 Paolieri Annarita Paolo Uccello Domenico Veneziano Andrea del Castagno Library of Great Masters New York SCALA Riverside 1991 Pope Hennessy John Paolo Uccello Complete Edition 2nd ed London Phaidon 1969 the other important English language monograph Singh Iona 2012 Visual Syntax Color Facture Art amp Design United Kingdom Zero Books pp 65 82 External links Edit Wikimedia Commons has media related to Paolo Uccello Excerpts from Vasari s Life of Paolo Uccello Web Gallery of Art Paolo Uccello Florence Art Guide Paolo Uccello www paolouccello org Works by Paolo Uccello Paolo Uccello Homepage in Italian Paolo Uccello s Polyhedra Ron Schuler s Parlour Tricks Getting Some Perspective Retrieved from https en wikipedia org w index php title Paolo Uccello amp oldid 1151529047, wikipedia, wiki, book, books, library,

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