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Piero della Francesca

February 15, 2024

Piero della Francesca (/ˌpjɛəroʊ ˌdɛlə frænˈtʃɛskə/,[2] US also /- frɑːnˈ-/,[3][4] Italian: [ˈpjɛːro della franˈtʃeska] ⓘ; né Piero di Benedetto; c. 1415[1] – 12 October 1492) was an Italian painter of the Early Renaissance. To contemporaries he was also known as a mathematician and geometer.[5] Nowadays Piero della Francesca is chiefly appreciated for his art. His painting is characterized by its serene humanism, its use of geometric forms and perspective. His most famous work is the cycle of frescoes The History of the True Cross in the church of San Francesco in the Tuscan town of Arezzo.

Piero della Francesca
Born
Piero di Benedetto

c. 1415[1]
Sansepolcro, Republic of Florence
Died12 October 1492(1492-10-12) (aged 76–77)
Sansepolcro, Republic of Florence
NationalityItalian
Known forPainting, Fresco
Notable workThe Baptism of Christ
Flagellation of Christ
Brera Madonna
MovementEarly Renaissance
The Resurrection (c. 1463–65)

Biography edit

Early years edit

Piero was born Piero di Benedetto in the town of Borgo Santo Sepolcro,[1][6] modern-day Tuscany, to Benedetto de' Franceschi, a tradesman, and Romana di Perino da Monterchi, members of the Florentine and Tuscan Franceschi noble family. His father died before his birth, and he was called Piero della Francesca after his mother, who was referred to as "la Francesca" due to her marriage into the Franceschi family (similar to Lisa Gherardini who was known as "la Gioconda" through her marriage into the Giocondo family). Romana supported his education in mathematics and art.[6]

He was most probably apprenticed to the local painter Antonio di Giovanni d'Anghiari, because in documents about payments it is noted that he was working with Antonio in 1432 and May 1438.[7][8] He certainly took notice of the work of some of the Sienese artists active in San Sepolcro during his youth; e.g. Sassetta. In 1439 Piero received, together with Domenico Veneziano, payments for his work on frescoes for the church of Sant'Egidio in Florence, now lost. In Florence he must have met leading masters like Fra Angelico, Luca della Robbia, Donatello, and Brunelleschi. The classicism of Masaccio's frescoes and his majestic figures in the Santa Maria del Carmine were for him an important source of inspiration. Dating of Piero's undocumented work is difficult because his style does not seem to have developed over the years.

Mature work edit

Piero returned to his hometown in 1442 and was elected to the City Council of Sansepolcro.[9] Three years later, he received his first commission, to paint the Madonna della Misericordia altarpiece for the church of the Misericordia in Sansepolcro,[9] which was completed in the early 1460s. In 1449 he executed several frescoes in the Castello Estense and the church of Sant'Andrea of Ferrara, now also lost. His influence was particularly strong in the later Ferrarese allegorical works of Cosimo Tura.

The Baptism of Christ, now in the National Gallery in London, was completed in about 1450 for the high altar of the church of the Priory of S. Giovanni Battista at Sansepolcro. Other notable works are the frescoes of The Resurrection in Sansepolcro, and the Madonna del parto in Monterchi, near Sansepolcro.

 
Sigismondo Pandolfo Malatesta kneeling before St. Sigismund (1451)

Two years later he was in Rimini, working for the condottiero Sigismondo Pandolfo Malatesta. In 1451, during that sojourn, he executed the famous fresco of St. Sigismund and Sigismondo Pandolfo Malatesta[9] in the Tempio Malatestiano, as well as a portrait of Sigismondo. In Rimini, Piero may have met the famous Renaissance mathematician and architect Leon Battista Alberti, who had redesigned the Tempio Malatestiano, although it is known that Alberti directed the execution of his designs for the church by correspondence with his building supervisor. Thereafter Piero was active in Ancona, Pesaro and Bologna.

In 1454, he signed a contract for the Polyptych of Saint Augustine in the church of Sant'Agostino in Sansepolcro. The central panel of this polyptych is lost, and the four panels of the wings, with representations of saints, are now scattered around the world. A few years later, summoned by Pope Nicholas V, he moved to Rome, where he executed frescoes in the Basilica di Santa Maria Maggiore, of which only fragments remain. Two years later he was again in the Papal capital, painting frescoes in the Vatican Palace, which have since been destroyed.

 
Detail from The History of the True Cross: the Queen of Sheba meeting with King Solomon

Frescoes in San Francesco at Arezzo edit

In 1452, Piero della Francesca was called to Arezzo to replace Bicci di Lorenzo in painting the frescoes of the basilica of San Francesco. The work was finished in 1464.[10]The History of the True Cross cycle of frescoes is generally considered among his masterworks and those of Renaissance painting in general. The story in these frescoes derives from legendary medieval sources as to how timber relics of the True Cross came to be found.[10] These stories were collected in the Golden Legend of Jacopo da Varazze (Jacopo da Varagine) of the mid-13th century.[11]

Piero's activity in Urbino edit

At some point, Giovanni Santi invited Piero to Urbino.[12] Between 1469 and 1486 Piero worked repeatedly in the service of Count Federico III da Montefeltro (Duke in 1474).[a] The Flagellation is generally considered Piero's oldest work in Urbino (c. 1455–1470). It is one of the most famous and controversial pictures of the early Renaissance. As discussed in its own entry, it is marked by an air of geometric sobriety, in addition to presenting a perplexing enigma as to the nature of the three men standing at the foreground.

 
The Montefeltro Altarpiece or the Brera Madonna

Another famous work painted in Urbino is the Double Portrait of Federico and his wife Battista Sforza, in the Uffizi.[13] The portraits in profile take their inspiration from large bronze medals and stucco roundels with the official portraits of Fedederico and his wife. Other paintings made in Urbino are the monumental Montefeltro Altarpiece (1474) in the Brera Gallery in Milan and the Madonna of Senigallia.

In Urbino Piero met the painters Melozzo da Forlì, Fra Carnevale, and the Flemish Justus van Gent, the mathematician Fra Luca Pacioli, the architect Francesco di Giorgio Martini, and probably also Leon Battista Alberti.

Later years edit

In his later years, painters such as Perugino and Luca Signorelli frequently visited his workshop. He completed the treatise On Perspective in Painting in the mid-1470s to 1480s. By 1480, his vision began to deteriorate,[13] but he continued writing treatises such as Short Book on the Five Regular Solids in 1485.[b] It is documented that Piero rented a house in Rimini in 1482. Piero made his will in 1487 and he died five years later, on 12 October 1492, in his own house in Sansepolcro.[1] He left his possessions to his family and the church.[citation needed]

Criticism and interpretation edit

 
Virgin and Child Enthroned With Four Angels by Piero della Francesca, Clark Art Institute

Recently, the Frick Collection in New York until 19 May 2013, collected seven of the eight extant paintings of Piero known to exist in the United States for exhibition. Of the seven pieces in the exhibit, critic Jerry Saltz writing in New York magazine singled out Piero's Virgin and Child Enthroned With Four Angels for its exemplary qualities.

Saltz states that, "The Virgin and child are elevated two steps. They are in a world itself apart from this world apart. Mary isn't looking at her child and looks instead at the rose he reaches for. You begin to glean the revelation she is having. The flower represents love, devotion, and beauty. It also symbolizes blood and the crown of thorns Christ will wear. This child who will suffer a horrendous death reaches for his acceptance of fate. Mary does not pull the flower back. You sense an inner agony, noticing her deep-blue robe open to reveal scarlet beneath, symbol of outward passion and pain to come. In the dead-center vertical line of the painting is Christ's right palm that will be nailed to the cross."

Saltz accepted this oil painting as the most exceptional work of Piero on display in the exhibit.[14]

Work in mathematics and geometry edit

 
First page of the Trattato d'Abaco

Piero's deep interest in the theoretical study of perspective and his contemplative approach to his paintings are apparent in all his work.[15] In his youth, Piero was trained in mathematics, which most likely was for mercantilism.[16] Three treatises written by Piero have survived to the present day: Trattato d'Abaco (Abacus Treatise) [fr], De quinque corporibus regularibus (On the Five Regular Solids)[c] and De Prospectiva pingendi (On Perspective in painting).[17] The subjects covered in these writings include arithmetic, algebra, geometry and innovative work in both solid geometry and perspective. Much of Piero's work was later absorbed into the writing of others, notably Luca Pacioli. Piero's work on solid geometry was translated in Pacioli's Divina proportione, a work illustrated by Leonardo da Vinci. Biographers of his patron Federico da Montefeltro of Urbino record that he was encouraged to pursue the interest in perspective which was shared by the Duke.

In the late 1450s, Piero copied and illustrated the following works of Archimedes:[18] On the Sphere and Cylinder, Measurement of a Circle, On Conoids and Spheroids, On Spirals, On the Equilibrium of Planes, The Quadrature of the Parabola, and The Sand Reckoner. The manuscript consists of 82 folio leaves, is held in the collection of the Biblioteca Riccardiana[19] and is a copy of the translation of the Archimedean corpus made by Italian humanist Iacopo da San Cassiano.[20]

Inspirations edit

Bohuslav Martinů wrote a three movement work for orchestra entitled Les Fresques de Piero della Francesca. Dedicated to Rafael Kubelik, it was premiered by Kubelik and the Vienna Philharmonic at the 1956 Salzburg Festival.

Piero's geometrical perfection and the almost magic atmosphere of the light in his painting inspired modern painters like Giorgio de Chirico, Massimo Campigli, Felice Casorati, and Balthus.

Selected works edit

 
The Baptism of Christ, c. 1450, National Gallery, London

References edit

Footnotes

  1. ^ According to Giorgio Vasari, Piero would have worked for Federico's father Guidantonio, who died in February 1443. However, this is unlikely because this statement is not confirmed by documents or paintings. Vasari may have confused Guidantonio with Federico.
  2. ^ Although he may have given up painting in his later years, Vasari's remarks that he went blind at the age of 60 have to be doubted,[13] since he completed his 1485 treatise on regular solids in his own handwriting.
  3. ^ Dedicated to Guidobaldo da Montefeltro, son and heir of Duke Federico

Citations

  1. ^ a b c d Turner, A. Richard (1976). "Piero della Francesca". In William D. Halsey (ed.). Collier's Encyclopedia. Vol. 19. New York: Macmillan Educational Corporation. pp. 40–42.
  2. ^ "Piero della Francesca". Oxford Dictionaries UK English Dictionary. Oxford University Press.[dead link]
  3. ^ "Piero della Francesca". The American Heritage Dictionary of the English Language (5th ed.). HarperCollins. Retrieved 31 May 2019.
  4. ^ "Piero della Francesca". Merriam-Webster.com Dictionary. Retrieved 31 May 2019.
  5. ^ Vasari, Giorgio, Lives of the Most Excellent Painters, Sculptors, and Architects, 1568.
  6. ^ a b Durant & Durant 2011, p. 462.
  7. ^ Banker, James R., The Culture of Sansepolcro during the Youth of Piero della Francesca, The University of Michican Press, 2003, p.159.
  8. ^ Banker, James R., "Piero della Francesca as Assistant to Antonio d'Anghiari in the 1430s: Some Unpublished Documents",The Burlington Magazine, Vol. 135, No. 1078 (January 1993). pp. 16–21. JSTOR /885421.
  9. ^ a b c Durant & Durant 2011, p. 463.
  10. ^ a b Durant & Durant 2011, p. 464.
  11. ^ "The Golden Legend, or Lives of the Saints" Volume Three, retrieved on 22 May 2007.
  12. ^ Durant & Durant 2011, p. 466.
  13. ^ a b c Durant & Durant 2011, p. 465.
  14. ^ Saltz, Jerry (2013). "Take the Day Off. Go to the Frick." New York magazine, 11 March 2013, pp121-123.
  15. ^ Field, J. V. (2005). Piero della Francesca. A Mathematician's Art (PDF). Yale University Press. ISBN 0-300-10342-5.
  16. ^ "Piero della Francesca". Oxford Art Online.
  17. ^ Livio, Mario (2003) [2002]. The Golden Ratio: The Story of Phi, the World's Most Astonishing Number (First trade paperback ed.). New York City: Broadway Books. p. 126. ISBN 0-7679-0816-3.
  18. ^ James Banker, A Manuscript of the Works of Archimedes in the Hand of Piero della Francesca, «Burlington Magazine», CXLVII, March 2005, pp. 165–69.
  19. ^ "On the Sphere and the Cylinder; On the Measurement of the Circle; On Conoids and Spheroids; On Spirals; On the Equilibrium of Planes; On the Quadrature of the Parabola; The Sand Reckoner". World Digital Library. 1450–1460. Retrieved 13 July 2013.
  20. ^ Paolo d'Alessandro e Pier Daniele Napolitani, Archimede latino.Iacopo da San Cassiano e il corpus archimedeo alla metà del Quattrocento, Paris, Les Belles Lettres, 2012.

Sources edit

Further reading edit

  • Berenson, Bernard, Piero della Francesca or The Ineloquent in Art, The Macmillan Company, 1954.
  • Chieli, Francesca, "La grecità antica e bizantina nell'opera di Piero della Francesca", Firenze, 1993.
  • Keith Christiansen, Piero Della Francesca: Personal Encounters, The Metropolitan Museum of Art, New York, 2013. ISBN 978-1-58839-529-0.
  • Cole, Bruce, Piero della Francesca: Tradition and Innovation in Renaissance Art, HarperCollins Publishers, 1991. ISBN 0-06-430906-1.
  • Damisch, Hubert, Un souvenir d'enfance par Piero della Francesca, Edition du Seuil, Paris, 1997; Engl. ed.: A Childhood Memory by Piero della Francesca, Stanford University Press, 2007. ISBN 0-8047-3442-9.
  • Ginzburg, Carlo, Indagini su Piero, Eunaudi, Torino, 1982; Engl. ed.: The Enigma of Piero: Piero della Francesca, Verso, 1985, new edition 2002. ISBN 1-85984-378-6.
  • Israëls, Machtelt Brüggen, Piero della Francesca and the Invention of the Artist, Reaktion Books, 2020. ISBN 978-1789143218.
  • Longhi, Roberto, Piero de' Franceschi, Rom, 1927; Engl. ed. translated by Leonard Penlock: Piero della Francesca, F. Warne & Co., London and New York, 1930; new ed. with expansions until 1962, 1963 translation by David Tabbat: Sheep Meadow, 2002. ISBN 1-878818-77-5.
  • Maetzke, Anna Maria; Bertelli, Carlo, eds., Piero della Francesca: The Legend of the True Cross in the Church of San Francesco in Arezzo, Skira, 2001. ISBN 978-8884910233.
  • Manescalchi, Roberto, L'Ercole di Piero, tra mito e realtà,(ParteI), Grafica European Center of Fine Art (Terre di Piero), Firenze, 2011. ISBN 978-88-95450-05-6
  • Manescalchi, Roberto, "Piero alla corte dei Pichi", in Studi e Documenti Pierfrancescani II, Sansepolcro 2014. ISBN 978-8895450445
  • Pacioli, Luca, Libellus de quinque corporibus regularibus, corredato della versione volgare [fac-sim du Codice Vat. Urb. Lat. 632]; eds. Cecil Grayson,... Marisa Dalai Emiliani, Carlo Maccagni. Firenze, Giunti, 1995. 3 vol. (68 ff., XLIV-213, XXII-223 pp.). ISBN 88-09-01020-5
  • Piero's Archimedes, [fac-sim du Codice Riccardiano 106 par Piero della Francesca]; eds. Roberto Manescalchi, Matteo Martelli, James Banker, Giovanna Lazzi, Pierdaniele Napolitani, Riccardo Bellè. Sansepolcro, Grafica European Center of Fine Arts e Vimer Industrie Grafiche Italiane, 2007. 2 vol. (82 ff., XIV-332 pp. English, French, Spanish, German, Italian and Arabic). ISBN 978-88-95450-25-4.
  • Pope-Hennessy, John, The Piero della Francesca Trail, Walter Neurath Memorial Lectures, Thames and Hudson, London, 1991; new ed. expanded with Aldous Huxley, "The Best Picture", The Little Bookroom, 2002. ISBN 1-892145-13-8.
  • Rossetti, William Michael (1911). "Franceschi, Piero de'" . Encyclopædia Britannica. Vol. 10 (11th ed.). p. 930.

External links edit

  •   Media related to Piero della Francesca at Wikimedia Commons
  • "The Art of Piero della Francesco", Lecture by Machtelt Brüggen Israëls at The Frick Collection, November 20, 2019.

February 15, 2024
piero, della, francesca, 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 Piero della Francesca see its history for attribution You should also add the template Translated fr Piero della Francesca to the talk page For more guidance see Wikipedia Translation Piero della Francesca ˌ p j ɛer oʊ ˌ d ɛ l e f r ae n ˈ tʃ ɛ s k e 2 US also f r ɑː n ˈ 3 4 Italian ˈpjɛːro della franˈtʃeska ne Piero di Benedetto c 1415 1 12 October 1492 was an Italian painter of the Early Renaissance To contemporaries he was also known as a mathematician and geometer 5 Nowadays Piero della Francesca is chiefly appreciated for his art His painting is characterized by its serene humanism its use of geometric forms and perspective His most famous work is the cycle of frescoes The History of the True Cross in the church of San Francesco in the Tuscan town of Arezzo Piero della FrancescaBornPiero di Benedettoc 1415 1 Sansepolcro Republic of FlorenceDied12 October 1492 1492 10 12 aged 76 77 Sansepolcro Republic of FlorenceNationalityItalianKnown forPainting FrescoNotable workThe Baptism of Christ Flagellation of Christ Brera MadonnaMovementEarly Renaissance The Resurrection c 1463 65 Contents 1 Biography 1 1 Early years 1 2 Mature work 1 3 Frescoes in San Francesco at Arezzo 1 4 Piero s activity in Urbino 1 5 Later years 2 Criticism and interpretation 3 Work in mathematics and geometry 4 Inspirations 5 Selected works 6 References 6 1 Sources 7 Further reading 8 External linksBiography editEarly years edit Piero was born Piero di Benedetto in the town of Borgo Santo Sepolcro 1 6 modern day Tuscany to Benedetto de Franceschi a tradesman and Romana di Perino da Monterchi members of the Florentine and Tuscan Franceschi noble family His father died before his birth and he was called Piero della Francesca after his mother who was referred to as la Francesca due to her marriage into the Franceschi family similar to Lisa Gherardini who was known as la Gioconda through her marriage into the Giocondo family Romana supported his education in mathematics and art 6 He was most probably apprenticed to the local painter Antonio di Giovanni d Anghiari because in documents about payments it is noted that he was working with Antonio in 1432 and May 1438 7 8 He certainly took notice of the work of some of the Sienese artists active in San Sepolcro during his youth e g Sassetta In 1439 Piero received together with Domenico Veneziano payments for his work on frescoes for the church of Sant Egidio in Florence now lost In Florence he must have met leading masters like Fra Angelico Luca della Robbia Donatello and Brunelleschi The classicism of Masaccio s frescoes and his majestic figures in the Santa Maria del Carmine were for him an important source of inspiration Dating of Piero s undocumented work is difficult because his style does not seem to have developed over the years Mature work edit Piero returned to his hometown in 1442 and was elected to the City Council of Sansepolcro 9 Three years later he received his first commission to paint the Madonna della Misericordia altarpiece for the church of the Misericordia in Sansepolcro 9 which was completed in the early 1460s In 1449 he executed several frescoes in the Castello Estense and the church of Sant Andrea of Ferrara now also lost His influence was particularly strong in the later Ferrarese allegorical works of Cosimo Tura The Baptism of Christ now in the National Gallery in London was completed in about 1450 for the high altar of the church of the Priory of S Giovanni Battista at Sansepolcro Other notable works are the frescoes of The Resurrection in Sansepolcro and the Madonna del parto in Monterchi near Sansepolcro nbsp Sigismondo Pandolfo Malatesta kneeling before St Sigismund 1451 Two years later he was in Rimini working for the condottiero Sigismondo Pandolfo Malatesta In 1451 during that sojourn he executed the famous fresco of St Sigismund and Sigismondo Pandolfo Malatesta 9 in the Tempio Malatestiano as well as a portrait of Sigismondo In Rimini Piero may have met the famous Renaissance mathematician and architect Leon Battista Alberti who had redesigned the Tempio Malatestiano although it is known that Alberti directed the execution of his designs for the church by correspondence with his building supervisor Thereafter Piero was active in Ancona Pesaro and Bologna In 1454 he signed a contract for the Polyptych of Saint Augustine in the church of Sant Agostino in Sansepolcro The central panel of this polyptych is lost and the four panels of the wings with representations of saints are now scattered around the world A few years later summoned by Pope Nicholas V he moved to Rome where he executed frescoes in the Basilica di Santa Maria Maggiore of which only fragments remain Two years later he was again in the Papal capital painting frescoes in the Vatican Palace which have since been destroyed nbsp Detail from The History of the True Cross the Queen of Sheba meeting with King SolomonFrescoes in San Francesco at Arezzo edit In 1452 Piero della Francesca was called to Arezzo to replace Bicci di Lorenzo in painting the frescoes of the basilica of San Francesco The work was finished in 1464 10 The History of the True Cross cycle of frescoes is generally considered among his masterworks and those of Renaissance painting in general The story in these frescoes derives from legendary medieval sources as to how timber relics of the True Cross came to be found 10 These stories were collected in the Golden Legend of Jacopo da Varazze Jacopo da Varagine of the mid 13th century 11 Piero s activity in Urbino edit At some point Giovanni Santi invited Piero to Urbino 12 Between 1469 and 1486 Piero worked repeatedly in the service of Count Federico III da Montefeltro Duke in 1474 a The Flagellation is generally considered Piero s oldest work in Urbino c 1455 1470 It is one of the most famous and controversial pictures of the early Renaissance As discussed in its own entry it is marked by an air of geometric sobriety in addition to presenting a perplexing enigma as to the nature of the three men standing at the foreground nbsp The Montefeltro Altarpiece or the Brera MadonnaAnother famous work painted in Urbino is the Double Portrait of Federico and his wife Battista Sforza in the Uffizi 13 The portraits in profile take their inspiration from large bronze medals and stucco roundels with the official portraits of Fedederico and his wife Other paintings made in Urbino are the monumental Montefeltro Altarpiece 1474 in the Brera Gallery in Milan and the Madonna of Senigallia In Urbino Piero met the painters Melozzo da Forli Fra Carnevale and the Flemish Justus van Gent the mathematician Fra Luca Pacioli the architect Francesco di Giorgio Martini and probably also Leon Battista Alberti Later years edit In his later years painters such as Perugino and Luca Signorelli frequently visited his workshop He completed the treatise On Perspective in Painting in the mid 1470s to 1480s By 1480 his vision began to deteriorate 13 but he continued writing treatises such as Short Book on the Five Regular Solids in 1485 b It is documented that Piero rented a house in Rimini in 1482 Piero made his will in 1487 and he died five years later on 12 October 1492 in his own house in Sansepolcro 1 He left his possessions to his family and the church citation needed Criticism and interpretation edit nbsp Virgin and Child Enthroned With Four Angels by Piero della Francesca Clark Art InstituteRecently the Frick Collection in New York until 19 May 2013 collected seven of the eight extant paintings of Piero known to exist in the United States for exhibition Of the seven pieces in the exhibit critic Jerry Saltz writing in New York magazine singled out Piero s Virgin and Child Enthroned With Four Angels for its exemplary qualities Saltz states that The Virgin and child are elevated two steps They are in a world itself apart from this world apart Mary isn t looking at her child and looks instead at the rose he reaches for You begin to glean the revelation she is having The flower represents love devotion and beauty It also symbolizes blood and the crown of thorns Christ will wear This child who will suffer a horrendous death reaches for his acceptance of fate Mary does not pull the flower back You sense an inner agony noticing her deep blue robe open to reveal scarlet beneath symbol of outward passion and pain to come In the dead center vertical line of the painting is Christ s right palm that will be nailed to the cross Saltz accepted this oil painting as the most exceptional work of Piero on display in the exhibit 14 Work in mathematics and geometry editYou 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 Piero della Francesca Piero le mathematicien see its history for attribution You should also add the template Translated fr Piero della Francesca Piero le mathematicien to the talk page For more guidance see Wikipedia Translation nbsp First page of the Trattato d AbacoPiero s deep interest in the theoretical study of perspective and his contemplative approach to his paintings are apparent in all his work 15 In his youth Piero was trained in mathematics which most likely was for mercantilism 16 Three treatises written by Piero have survived to the present day Trattato d Abaco Abacus Treatise fr De quinque corporibus regularibus On the Five Regular Solids c and De Prospectiva pingendi On Perspective in painting 17 The subjects covered in these writings include arithmetic algebra geometry and innovative work in both solid geometry and perspective Much of Piero s work was later absorbed into the writing of others notably Luca Pacioli Piero s work on solid geometry was translated in Pacioli s Divina proportione a work illustrated by Leonardo da Vinci Biographers of his patron Federico da Montefeltro of Urbino record that he was encouraged to pursue the interest in perspective which was shared by the Duke In the late 1450s Piero copied and illustrated the following works of Archimedes 18 On the Sphere and Cylinder Measurement of a Circle On Conoids and Spheroids On Spirals On the Equilibrium of Planes The Quadrature of the Parabola and The Sand Reckoner The manuscript consists of 82 folio leaves is held in the collection of the Biblioteca Riccardiana 19 and is a copy of the translation of the Archimedean corpus made by Italian humanist Iacopo da San Cassiano 20 Inspirations editBohuslav Martinu wrote a three movement work for orchestra entitled Les Fresques de Piero della Francesca Dedicated to Rafael Kubelik it was premiered by Kubelik and the Vienna Philharmonic at the 1956 Salzburg Festival Piero s geometrical perfection and the almost magic atmosphere of the light in his painting inspired modern painters like Giorgio de Chirico Massimo Campigli Felice Casorati and Balthus Selected works edit nbsp The Baptism of Christ c 1450 National Gallery LondonPolyptych of the Misericordia 1445 62 Tempera and oil on panel 273 x 330 cm Museo Civico Sansepolcro The Baptism of Christ c 1448 50 Tempera on panel 168 116 cm National Gallery London St Jerome in Penitence c 1449 51 Tempera on panel 51 38 cm Staatliche Museen Berlin St Jerome and a Donor Girolamo Amadi 1451 Tempera and oil on panel 49 42 cm Gallerie dell Accademia Venice Sigismondo Pandolfo Malatesta Praying in Front of St Sigismund 1451 Fresco transferred to canvas 257 x 345 cm Tempio Malatestiano Rimini Portrait of Sigismondo Pandolfo Malatesta c 1451 Tempera and oil on panel 44 5 34 5 cm Musee du Louvre Paris The History of the True Cross c 1455 66 Fresco cycle Basilica of San Francesco Arezzo The Flagellation of Christ c 1460 Tempera on panel 58 4 x 81 5 cm Galleria Nazionale delle Marche Urbino Polyptych of Saint Augustine 1460 70 Tempera and oil on panels dispersed in several museums Resurrection c 1463 Fresco 225 200 cm Museo Civico Sansepolcro Hercules c 1465 Fresco detached 151 126 cm Isabella Stewart Gardner Museum Boston St Mary Magdalene c 1466 1458 70s Fresco 190 180 cm Cathedral Arezzo Madonna del Parto 1459 67 Detached fresco 260 203 cm Chapel of the cemetery Monterchi The Nativity c 1470 Oil on panel 124 5 123 cm National Gallery London Polyptych of Saint Anthony c 1470 Oil on panel 338 230 cm Galleria Nazionale dell Umbria Perugia Brera Madonna i e Montefeltro Altarpiece 1472 74 Oil on panel 248 170 cm Pinacoteca di Brera Milan Diptych of the Count and Countess of Urbino Federico da Montefeltro and Battista Sforza Oil on panel each 47 4 33 6 cm Galleria degli Uffizi Florence Madonna di Senigallia c 1474 Oil on panel 67 53 5 cm Galleria Nazionale delle Marche UrbinoReferences editFootnotes According to Giorgio Vasari Piero would have worked for Federico s father Guidantonio who died in February 1443 However this is unlikely because this statement is not confirmed by documents or paintings Vasari may have confused Guidantonio with Federico Although he may have given up painting in his later years Vasari s remarks that he went blind at the age of 60 have to be doubted 13 since he completed his 1485 treatise on regular solids in his own handwriting Dedicated to Guidobaldo da Montefeltro son and heir of Duke Federico Citations a b c d Turner A Richard 1976 Piero della Francesca In William D Halsey ed Collier s Encyclopedia Vol 19 New York Macmillan Educational Corporation pp 40 42 Piero della Francesca Oxford Dictionaries UK English Dictionary Oxford University Press dead link Piero della Francesca The American Heritage Dictionary of the English Language 5th ed HarperCollins Retrieved 31 May 2019 Piero della Francesca Merriam Webster com Dictionary Retrieved 31 May 2019 Vasari Giorgio Lives of the Most Excellent Painters Sculptors and Architects 1568 a b Durant amp Durant 2011 p 462 Banker James R The Culture of Sansepolcro during the Youth of Piero della Francesca The University of Michican Press 2003 p 159 Banker James R Piero della Francesca as Assistant to Antonio d Anghiari in the 1430s Some Unpublished Documents The Burlington Magazine Vol 135 No 1078 January 1993 pp 16 21 JSTOR 885421 a b c Durant amp Durant 2011 p 463 a b Durant amp Durant 2011 p 464 The Golden Legend or Lives of the Saints Volume Three retrieved on 22 May 2007 Durant amp Durant 2011 p 466 a b c Durant amp Durant 2011 p 465 Saltz Jerry 2013 Take the Day Off Go to the Frick New York magazine 11 March 2013 pp121 123 Field J V 2005 Piero della Francesca A Mathematician s Art PDF Yale University Press ISBN 0 300 10342 5 Piero della Francesca Oxford Art Online Livio Mario 2003 2002 The Golden Ratio The Story of Phi the World s Most Astonishing Number First trade paperback ed New York City Broadway Books p 126 ISBN 0 7679 0816 3 James Banker A Manuscript of the Works of Archimedes in the Hand of Piero della Francesca Burlington Magazine CXLVII March 2005 pp 165 69 On the Sphere and the Cylinder On the Measurement of the Circle On Conoids and Spheroids On Spirals On the Equilibrium of Planes On the Quadrature of the Parabola The Sand Reckoner World Digital Library 1450 1460 Retrieved 13 July 2013 Paolo d Alessandro e Pier Daniele Napolitani Archimede latino Iacopo da San Cassiano e il corpus archimedeo alla meta del Quattrocento Paris Les Belles Lettres 2012 Sources edit Durant Will Durant Ariel 2011 1953 The Story of Civilization Volume V The Renaissance Simon and Schuster ISBN 9781451647624 Further reading editBerenson Bernard Piero della Francesca or The Ineloquent in Art The Macmillan Company 1954 Chieli Francesca La grecita antica e bizantina nell opera di Piero della Francesca Firenze 1993 Keith Christiansen Piero Della Francesca Personal Encounters The Metropolitan Museum of Art New York 2013 ISBN 978 1 58839 529 0 Cole Bruce Piero della Francesca Tradition and Innovation in Renaissance Art HarperCollins Publishers 1991 ISBN 0 06 430906 1 Damisch Hubert Un souvenir d enfance par Piero della Francesca Edition du Seuil Paris 1997 Engl ed A Childhood Memory by Piero della Francesca Stanford University Press 2007 ISBN 0 8047 3442 9 Ginzburg Carlo Indagini su Piero Eunaudi Torino 1982 Engl ed The Enigma of Piero Piero della Francesca Verso 1985 new edition 2002 ISBN 1 85984 378 6 Israels Machtelt Bruggen Piero della Francesca and the Invention of the Artist Reaktion Books 2020 ISBN 978 1789143218 Longhi Roberto Piero de Franceschi Rom 1927 Engl ed translated by Leonard Penlock Piero della Francesca F Warne amp Co London and New York 1930 new ed with expansions until 1962 1963 translation by David Tabbat Sheep Meadow 2002 ISBN 1 878818 77 5 Maetzke Anna Maria Bertelli Carlo eds Piero della Francesca The Legend of the True Cross in the Church of San Francesco in Arezzo Skira 2001 ISBN 978 8884910233 Manescalchi Roberto L Ercole di Piero tra mito e realta ParteI Grafica European Center of Fine Art Terre di Piero Firenze 2011 ISBN 978 88 95450 05 6 Manescalchi Roberto Piero alla corte dei Pichi in Studi e Documenti Pierfrancescani II Sansepolcro 2014 ISBN 978 8895450445 Pacioli Luca Libellus de quinque corporibus regularibus corredato della versione volgare fac sim du Codice Vat Urb Lat 632 eds Cecil Grayson Marisa Dalai Emiliani Carlo Maccagni Firenze Giunti 1995 3 vol 68 ff XLIV 213 XXII 223 pp ISBN 88 09 01020 5 Piero s Archimedes fac sim du Codice Riccardiano 106 par Piero della Francesca eds Roberto Manescalchi Matteo Martelli James Banker Giovanna Lazzi Pierdaniele Napolitani Riccardo Belle Sansepolcro Grafica European Center of Fine Arts e Vimer Industrie Grafiche Italiane 2007 2 vol 82 ff XIV 332 pp English French Spanish German Italian and Arabic ISBN 978 88 95450 25 4 Pope Hennessy John The Piero della Francesca Trail Walter Neurath Memorial Lectures Thames and Hudson London 1991 new ed expanded with Aldous Huxley The Best Picture The Little Bookroom 2002 ISBN 1 892145 13 8 Rossetti William Michael 1911 Franceschi Piero de Encyclopaedia Britannica Vol 10 11th ed p 930 External links edit nbsp Media related to Piero della Francesca at Wikimedia Commons The Art of Piero della Francesco Lecture by Machtelt Bruggen Israels at The Frick Collection November 20 2019 Retrieved from https en wikipedia org w index php title Piero della Francesca amp oldid 1197815548, wikipedia, wiki, book, books, library,

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