Die Ölgemälde alles Piero della Francesca

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Painting (From A to Z)

Details

64881

9992

Adoration of the Holy Wood and the Meeting of Solomon and Queen of Sheba

c.1452; Fresco, San Francesco, Arezzo

32473

Adoration of the Holy Wood and the Meeting of Solomon and the Queen of Sheba

c. 1452 Fresco, 336 x 747 cm

40201

Adoration of the Holy Wood and the Meeting of Solomon and the Queen of Sheba

mk156 1450-1465 Fresco,Choir of the Church of San Francesco

9983

Annuncciation

c.1455; Fresco San Francesco Arezzo

91673

Archangel Gabriel

1445(1445) and 1462(1462) Medium oil and tempera on panel Dimensions Height: 55 cm (21.7 in). Width: 21 cm (8.3 in). cyf

31726

Augustinian monk

mk76 Date unknown, Tempera on panel 15 3/4x11 1/8in

31727

Augustinian nun

mk76 Date unknown Tempera on panel 15 1/4x11in

48631

Baptism of Christ

mk191 Circa 1442 Tempera on the board 167x116cm

56650

battista sforza.hustru till federico da montefeltro

mk248 battista sforza tillborde den barskande atten i milano. hon fodde federico sju dottrar ocb en son, ocb dog vid sonens fodelse. de flesta bistoriler ansr att portrattet ett i en diptuk maladdes postumt. bakgrunden visar urbino ocb den omgivande landsbygden.

32463

Battle between Constantine and Maxentius

c. 1458 Fresco, 322 x 764 cm

32462

Battle between Heraclius and Chosroes

c. 1460 Fresco, 329 x 747 cm

64939

berlin staatliche museen tempera on panel

51 by 38cm

55956

Brera madonna

mk247 1472-74,oil on panel,99x67 in,241x172 cm,pinacoteca di brera,milan,ltaly

32464

Burial of the Wood

c. 1455 Fresco, 356 x 190 cm

9984

Carrying the Sacred Wood

1455; Fresco San Francesco,Arezzo

53696

Christ-s baptism

mk234 1450-first century 168x117cm

9986

Constantine s Dream

1455; Fresco; San Francesco,Arezzo

51990

Constantine-s Dream

c. 1455 Fresco, 329 x 190 cm

64938

crucifixion

91675

Crucifixion

1445(1445) and 1462(1462) Medium oil and tempera on panel Dimensions Height: 81 cm (31.9 in). Width: 52 cm (20.5 in). cyf

64875

cupid returning an arrow to the quiver

arezzo, san francesco se

43579

Death of Adam

390 x 747 cm c. 1452 Fresco

48632

Detail of Baptism of Christ

mk191 oil on the board

48633

Detail of Baptism of Christ

mk191 oil on the board

48634

Detail of Baptism of Christ

mk191 oil on board

48635

Detail of Baptism of Christ

mk191 oil on board

64893

detail of plate 90

64895

detail of plate 92

64874

detail of the castle from st sigismund and sigismondo

pandolfo malatesta, rimini, san francesco se

64873

detail of the dogs from st sigismund and sigismondo pandolfo malatesta

rimini ,san francesco se

64869

details from the baptism of chist

london national gallery se

64870

details from the baptism of chist

london national gallery se

64868

details from the baptism of christ

london, national gallery se

31725

Details of St.Simon the apostle

mk76 Painted between 1454 and 1469. Tempera on panel 52 3/4x24 1/2in

34366

Die Konigin von Saba betet das Kreuzesholz an

mk92

34365

Die Konigin von Saba betet das Kreuzesholz and Ausschnitt

mk92 1452 Arezzo San Francesco

32470

Discovery and Proof of the True Cross

c. 1460 Fresco, 356 x 747 cm

33263

Discovery and Proof of the True Cross

mk83 Fresco 356x747cm

38479

Dke Battista Sforza

mk137 1475 oils and Tempera on chalkboard 47x33cm Galleria degli Uffizi, Florence

21213

Double portrait fo Federigo da Montefeltro (mk08)

c.1470 Tempera on panel, 47x33cm Florence,Galleria degli Uffizi

32465

Exaltation of the Cross

c. 1466 Fresco, 390 x 747 cm

43581

Exaltation of the Cross-inhabitants of Jerusalem

c. 1466 Fresco, 390 x 747 cm

33245

Federico di Montefeltro

mk83 c.1465

25883

Federigo da Montefeltro and his Wife Battista Sforza (mk45)

Tempera on two panels each 47x33cm Florence

33383

Ferderigo da Montefeltro's Wife Battista Sforza

mk86 c.1470 Tempera on panel 47x33cm Florence,Galleria degli Uffizi

58851

Flagellation of Christ

Flagellation of Christ Piero della Francesca, probably 1455?C1460 Oil and tempera on panel 58.4 ?? 81.5 cm Galleria Nazionale delle Marche, Urbino

38543

Gallery, London baptizes Christs

mk137 ca.1440-1145 Tempera on wood chalkboard 167x116cm The nationally

72464

Geburt Christi

1460-1475 Oil on panel 124 X 123 cm cjr

74140

Geburt Christi

Date 1460-1475 Medium Oil on panel Dimensions Deutsch: 124 X 123 cm cyf

32460

Head of an Angel

1452 Fresco, 55 cm

32461

Head of an Angel

1460 Fresco, 70 cm

64950

hercules

boston, isabella stewart gardner museum detached fresco 151 by 126cm se

53697

Kristi uppstandelse

mk234 early 1450-speech 225x205cm

64944

legend of the true cross

the veneration of the true

64945

legend of the true cross

the death of adam se

64946

legend of the true cross

the adoration of the holy wood and the queen of sheba received by solomon se

64947

legend of the true cross

the discovery and proof of the true cross se

64948

legend of the true cross

the torture of judas the jew se

64949

legend of the true cross

the carrying of the holy wood se

64940

london, national gallery tempera on panel

167 by 116cm se

83982

Madonna and Child Attended by Angels

Date between 1460(1460) and 1465(1465) Medium Oil on wood cjr

87836

Madonna and Child Attended by Angels

between 1460(1460) and 1465(1465) Medium Oil on wood cyf

87838

Madonna and Child Attended by Angels

between 1460(1460) and 1465(1465) Medium Oil on wood cyf

32469

Madonna and Child with Saints

1472-74 Oil on panel, 248 x 170 cm

9991

Madonna and Child with Saints Montefeltro Altarpiece

1472-74; Oil on pane Pinacoteca Brera,Milan

64978

madonna and chold enthroned between four angels

williamstown, mass, sterling and francine clark art institute mixed media on panel, transferred to plywood in 1961 117.8 by 78.42cm se

9990

Madonna del parto

1467; Detached fresco; Chapel of cemetery,Monterchi

33267

Madonna del Parto

mk83 c.1455

58852

Madonna del Parto

Madonna del Parto Piero della Francesca, after 1457 detached fresco Museo della Madonna del Parto, Monterchi

64960

madonna del parto

monterchi, santa maria a nomentana detached fresco 206 by 203cm se

64961

madonna del parto

the madonna del parto, details se

64962

madonna del parto

the madonna del parto, details se

64963

madonna del parto

the madonna del parto, details se

58849

Madonna della Misericordia

Madonna della Misericordia Piero della Francesca, 1460-1462 Oil and tempera on panel Pinacoteca Comunale, Sansepolcro

64864

madonna della misericordia, central panel of the polyptych of the misericordia

sansepolcro, museo civico se

9982

Madonna di Senigallia

early 1470's; Galleria Nazionale delle Marche, Urbino

58856

Madonna di Senigallia

Madonna di Senigallia Piero della Francesca, c. 1474 Oil on panel 67 ?? 53.5 cm Galleria Nazionale delle Marche, Urbino

82554

Madonna di Senigallia

Medium Oil on canvas Dimensions Italiano: 31 x 28 cm cjr

86248

Madonna di Senigallia

Oil on canvas Dimensions Italiano: 31 x 28 cm cyf

32471

Madonna of Senigallia

early 1470s, Panel, 61 x 53,5 cm

40213

Madonna of Senigallia

mk156 1460-75 oil on panel 61x53cm

33265

Mary Magdalene

mk83 c.1468 Fresco 190x180cm

64965

montefel tro altarpiece

milan, pinacoteca di brera oil on panel 248 by 170cm se

40223

Nativity

mk156 1470-75 Oil on panel 124.4x122.6cm

64970

nativity

london, national gallery oil on panel 124.5 by 123cm se

90328

Nativity

between 1470(1470) and 1475(1475) Medium oil on poplar cyf

56651

pala mantefeltro

mk248 altartavlan i brea madonnan och barnetnetnet med anglar. helgon och federico da montefeltro, hertig av urbino. hertigen forlorade sitt bog ocb delar av nasan under en turnering ocb avbildades alltid i vansterprofil. detta ar frmodligen della fran cescas sista verk innan ban forlorade synen, men bans masterliga proportioner ar bapnads vackande. strutsagget som banger i skalet fran en snackan symboliserar jungfru fodseln ocb upprepas i ovalen som utgor madonnans buvud, placerat exakt mitt i tavlan.

58853

Polyptych of Perugia

Polyptych of Perugia Piero della Francesca, c. 1470 Oil and tempera on panel 338 ?? 230 cm Galleria Nazionale dell'Umbria, Perugia

64966

polyptych of saint anthony

perugia, galleria nazionale dell'umbria oil and tempera on poplar panel 338 by 230cm se

64967

polyptych of saint anthony

the annunciation

64968

polyptych of saint anthony

the miracle of st anthony se

64969

polyptych of saint anthony

the stigmatisation of st francis se

9988

Polyptych of Saint Augustine

460-70 Oil and tempera on panel; panels are in different museums

64956

polyptych of saint augustine

st augustine se

64957

polyptych of saint augustine

st michael se

64958

polyptych of saint augustine

st john the evangelist se

64959

polyptych of saint augustine

st nicholas of tolentino se

9989

Polyptych of Saint Augustine fy

1460-70 Oil and tempera on panel; panels in different museums

32441

Polyptych of St Anthony

1460-70 Panel, 338 x 230 cm

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Piero della Francesca

Italian Early Renaissance Painter, ca.1422-1492 Italian painter and theorist. His work is the embodiment of rational, calm, monumental painting in the Italian Early Renaissance, an age in which art and science were indissolubly linked through the writings of Leon Battista Alberti. Born two generations before Leonardo da Vinci, Piero was similarly interested in the scientific application of the recently discovered rules of perspective to narrative or devotional painting, especially in fresco, of which he was an imaginative master; and although he was less universally creative than Leonardo and worked in an earlier idiom, he was equally keen to experiment with painting technique. Piero was as adept at resolving problems in Euclid, whose modern rediscovery is largely due to him, as he was at creating serene, memorable figures, whose gestures are as telling and spare as those in the frescoes of Giotto or Masaccio. His tactile, gravely convincing figures are also indebted to the sculpture of Donatello, an equally attentive observer of Classical antiquity. In his best works, such as the frescoes in the Bacci Chapel in S Francesco, Arezzo, there is an ideal balance between his serene, classical compositions and the figures that inhabit them, the whole depicted in a distinctive and economical language. In his autograph works Piero was a perfectionist, creating precise, logical and light-filled images (although analysis of their perspective schemes shows that these were always subordinated to narrative effect). However, he often delegated important passages of works (e.g. the Arezzo frescoes) to an ordinary, even incompetent, assistant.

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