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Piero della Francesca

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Piero della Francesca
Portrait of Piero della Francesca from a 1648 edition of The Lives
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

Piero della Francesca (/ˌpjɛəroʊ ˌdɛlə frænˈtʃɛskə/ PYAIR-oh DEL-ə fran-CHESK-ə,[2] US also /- frɑːnˈ-/ -⁠ frahn-;[3][4] Italian: [ˈpjɛːro della franˈtʃeska] ⓘ; né Piero di Benedetto; c. 1415[1] – 12 October 1492) was an Italian painter, mathematician and geometer of the Early Renaissance,[5] nowadays 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 Basilica of San Francesco in the Tuscan town of Arezzo.

The Resurrection (c. 1463–65)

Biography

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Early years

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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

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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.[10] 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

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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.[11] 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.[11] These stories were collected in the Golden Legend of Jacopo da Varazze (Jacopo da Varagine) of the mid-13th century.[12]

Piero's activity in Urbino

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At some point, Giovanni Santi invited Piero to Urbino,[13] where Piero "executed several commissions for Duke Federico da Montefeltro."[14][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.[15] The portraits in profile take their inspiration from large bronze medals and stucco roundels with the official portraits of Federico 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

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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,[15] 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

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

In a 2013 exhibition, the Frick Collection in New York collected seven of the eight paintings of Piero known to exist in the United States. Of the seven paintings 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 wrote, "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."[17]

By contrast, Walter Kaiser, reviewing the exhibition in The New York Review of Books, wrote, "The most splendid picture in the Frick exhibition is the magnificent figure of Saint Augustine from the Museu Nacional de Arte Antiga in Lisbon, a companion to Saint John the Evangelist [owned by the Frick Collection] on the Sant'Agostino altarpiece".[18]

Work in mathematics and geometry

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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.[19] In his youth, Piero was trained in mathematics, which most likely was for mercantilism.[20] 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).[21] 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:[22] 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[23] and is a copy of the translation of the Archimedean corpus made by Italian humanist Iacopo da San Cassiano.[24]

Inspirations

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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

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

References

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Footnotes

  1. ^ According to Giorgio Vasari, Piero worked for Guidobaldo da Montefeltro, who was Federico's son. However, in their Oxford World's Classics translation of Vasari, pp. 533-534, Julia Conaway Bondanella and Peter Bondanella write that Guidobaldo "was born too late to have been Piero's first patron, [and] Vasari probably means to allude to Guidantonio da Montefeltro," who was Federico's father. By contrast, Machtelt Brüggen Israëls writes in Piero della Francesca and the Invention of the Artist, p. 43, that Vasari was "possibly intending Federico di Montefeltro".
  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,[15] since he completed his 1485 treatise on regular solids in his own handwriting. Machtelt Brüggen Israëls, however, wrote in 2020 that Piero was blind in his last months.[16]
  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. Merriam-Webster. 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. ^ The four saints are Saint Augustine, Museu de Arte Antiga, Lisbon; Saint Michael, National Gallery, London; Saint John the Evangelist, Frick Collection, New York; and Saint Nicholas of Tolentino, Museo Poldi Pezzoli, Milan. The paintings are identified and pictured in Cole, Bruce, Piero della Francesca: Tradition and Innovation in Renaissance Art, pp. 44-45, and in Pope-Hennessy, John, The Piero della Francesca Trail (2002), pp. 20-21. (Pope-Hennessy believes that the painting of Saint John the Evangelist is probably actually St. Simon, p. 19.)
  11. ^ a b Durant & Durant 2011, p. 464.
  12. ^ "The Golden Legend, or Lives of the Saints" Volume Three, retrieved on 22 May 2007.
  13. ^ Durant & Durant 2011, p. 466.
  14. ^ Cole, Bruce, Piero della Francesca: Tradition and Innovation in Renaissance Art, p. 62.
  15. ^ a b c Durant & Durant 2011, p. 465.
  16. ^ Israëls, Machtelt Brüggen, Piero della Francesca and the Invention of the Artist, Reaktion Books, 2020, p. 7.
  17. ^ Saltz, Jerry, "Saltz on Piero della Francesca at the Frick". New York magazine, March 3, 2013.
  18. ^ Kaiser, Walter, "The Noble Dreams of Piero", The New York Review of Books, March 21, 2013.
  19. ^ Field, J. V. (2005). Piero della Francesca. A Mathematician's Art (PDF). Yale University Press. ISBN 0-300-10342-5.
  20. ^ "Piero della Francesca". Oxford Art Online.
  21. ^ 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.
  22. ^ James Banker, A Manuscript of the Works of Archimedes in the Hand of Piero della Francesca, «Burlington Magazine», CXLVII, March 2005, pp. 165–69.
  23. ^ "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.
  24. ^ 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

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Further reading

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  • Banker, James R., Piero della Francesca: Artist and Man, Oxford University Press, 2014,
  • Berenson, Bernard, Piero della Francesca or The Ineloquent in Art, New York: The Macmillan Company, 1954.
  • Chieli, Francesca, "La grecità antica e bizantina nell'opera di Piero della Francesca", Firenze, 1993.
  • Christiansen, Keith, Piero Della Francesca: Personal Encounters, The Metropolitan Museum of Art, New York, 2013. With contributions by Roberto Belluci, Cecilia Frosinini, Anna Pizzati, and Chiara Rossi Scarzanella. ISBN 978-1-58839-529-0.
  • Clark, Kenneth, Piero della Francesca. Phaidon Publishers. First ed. 1951, second ed. 1969.
  • 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.
  • Hendy, Philip, Piero Della Francesca and the Early Renaissance, New York: Macmillan, 1968, and London: Weidenfeld & Nicolson, 1968.
  • Israëls, Machtelt Brüggen, Piero della Francesca and the Invention of the Artist, Reaktion Books, 2020. ISBN 978-1789143218.
  • Kaiser, Walter, "The Noble Dreams of Piero", The New York Review of Books, March 21, 2013. Review of Silver, Nathaniel E., Piero della Francesca in America and the exhibition at the Frick Collection that it accompanied.
  • Lavin, Marilyn Aronberg, Piero della Francesca: San Francesco, Arezzo, New York: George Braziller, 1994.
  • Lightbown, Ronald, Piero della Francesca, Abbeville Press, 1992. ISBN 978-1558591684.
  • 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, ed., Piero della Francesca: The Legend of the True Cross in the Church of San Francesco in Arezzo, with Giovanna Melandri, Stefano Casciu, and Carla Corsi. Skira, 2000. ISBN 88-8118-829-5.
  • Maetzke, Anna Maria; Bertelli, Carlo, eds., Piero della Francesca: The Legend of the True Cross in the Church of San Francesco in Arezzo, texts by Marilyn Aronberg Lavin et al. 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
  • Meiss, Millard, "A Documented Altarpiece by Piero della Francesca", The Art Bulletin, Vol. 23 (March 1941), pp. 53-68; reprinted with alterations and additions in Millard Meiss, The Painter's Choice: Problems in the Interpretation of Renaissance Art, Harper and Row, 1976, pp. 82-104.
  • 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.
  • Silver, Nathaniel E., Piero della Francesca in America: From Sansepolcro to the East Coast, with essays by James R. Banker and Machtelt Israëls, and an appendix by Giacomo Guazzini and Elena Squillantini. New York: Frick Collection, 2013. Catalogue for exhibition of the same name listed in "External links".
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