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Piero della Francesca

Piero della Francesca

Sheep Meadow

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This book is a new English version of the third edition (1963) of Longhi's seminal work on the Renaissance painter Piero della Francesca, with an introduction by Metropolitan Museum of Art curator Keith Christiansen.
Piero della Francesca: The Frescoes of San Francesco in Arrezzo

Skira

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Piero della Francesca has long been admired as one of the greatest of all Renaissance painters. Much archival and technical work has been done concerning him and his work (including the restoration of his great fresco cycle in Arezzo and of many of his other paintings and frescoes). Carlo Bertelli, presents both a synthesis of recent documentary and scientific research and the reflections of his own lifetime's study of Piero's work. The book incorporates a full-scale biography of the artist, which locates Piero's work in relation to that of his contemporaries, and goes on to analyze each of his surviving paintings. It concludes with a full catalogue of his works, and is illustrated in colour throughout with reproductions of the newly restored panels and frescoes.
Piero della Francesca: A Mathematician's Art

Yale University Press

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Piero della Francesca, one of the greatest painters of the fifteenth century, was also an accomplished mathematician. This book—the first combined study of Piero’s work as a mathematician and as a painter—explores the connections between these two activities and thus enhances our understanding of both his paintings and his writings.

J. V. Field begins by describing Piero’s education, family background, and training as a painter. The book then examines the strong sense of three-dimensional form shown in his art and the abstract solid geometry discussed in his writings. Field next considers Piero’s treatise on perspective and paintings that exemplify the prescriptions it provides and assesses the optical or pictorial “rules” Piero followed as a painter. Piero is identified as a figure of some intellectual weight—as a learned craftsman. The book concludes by considering the historical significance of the tradition to which he belonged and its connections with the Scientific Revolution.


Piero Della Francesca A&I (Art and Ideas)

Phaidon Press

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Piero della Francesca (c.1413-92) is one of the most intriguing artists of the early Italian Renaissance, known not only for the balance of his compositions and the emotional coolness of his style, but also for his outstanding talent as a mathematician. Taking advantage of documentary evidence that has emerged, particularly since the quincentenary of the artist's death in 1992, Piero scholar Marilyn Aronberg Lavin covers all aspects of the career of an artist who can justifiably be called a "Renaissance Man". Born in Sansepolcro, a small town on the border between Umbria and Tuscany, Piero della Francesca worked there periodically throughout his life. But he also travelled elsewhere in Italy - to Florence and Rome for brief periods, and to Urbino (the location of his famous "Flagellation"), Arezzo ("Legend of the True Cross" fresco cycle), Rimini and Ferrara. He was well respected and worked for the provincial rulers in these cities. However, his fame was not just due to his skill as a painter. Concurrently, he pursued his interest in mathematics and wrote three treatises on the subject. This work was linked to his artistic output - the application of the rules of perspective in his compositions, with their structured spaces and idealized shapes, are one of the reasons why he has become so univesally admired and studied in the modern era.
The Piero Della Francesca Trail

Little Bookroom

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More personal and sophisticated than a standard guidebook, this essential guide to the Piero masterpieces provides a rare glimpse of the workings of the heart and mind of a world-famous art historian as he looks at and thinks about the paintings andfrescoes. One by one, he describes the stories they portray, their meticulous composition, and the crucial and surprising role of fate in the commission for the church of San Francesco. Originally published in 1993, the book quickly achieved a cult following; this new edition includes, for the first time, Aldous Huxley's "The Best Picture," the famous essay that first inspired Pope-Hennessy to seek out the luminous and enigmatic works that now constitute the pilgrimage known as The Piero della Francesca Trail. The thousands of tourists who travel to Tuscany each year to follow the trail will welcome the republication of this beautifully designed volume.
The Complete Paintings of Piero della Francesca (Classics of the World's Great Art)

N. H. Abrams

Description


Piero della Francesca News




A Rich Array of Italian Masters - New York Times
A Rich Array of Italian MastersThis period saw the arrival of one masterpiece after another: from Raphael's “Marriage of the Virgin” to Piero della Francesca's mysterious “Madonna, Child and Saints with Federico di Montefeltro” and two exquisitely elaborate altarpieces by Carlo

How I learnt to run an art class - Times Online
How I learnt to run an art class - Times Online Times OnlineHow I learnt to run an art classOver ten enthralling weeks we learnt about Piero della Francesca, Giotto, Brunelleschi and Donatello. We learnt how pale frescoes and rich mosaics were made, how artists found their patrons and set up workshops and how, when Giotto was commissioned by

Milton Glaser: To Inform and Delight
Glaser holds court on his childhood and how he discovered his passion for drawing, his years at Cooper Union, the creation of New York Magazine, various art projects (Monet, Piero della Francesca), his years as The Underground Gourmet,

St. Louis Art Capsules - Riverfront Times
St. Louis Art CapsulesThe specter of Philip Guston looms large here, manifested in a spirit of wryly internalized loss, Piero della Francesca compositions, and the form of tragicomic characters like hooded Klansmen and blank De Chirico-esque faces. Fitzpatrick adds to this

St. Louis Art Capsules - Riverfront Times
St. Louis Art CapsulesThe specter of Philip Guston looms large here, manifested in a spirit of wryly internalized loss, Piero della Francesca compositions, and the form of tragicomic characters like hooded Klansmen and blank De Chirico-esque faces. Fitzpatrick adds to this