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. Related Paintings of Piero della Francesca :. | senigallia madonna | the resurrection | reconstruction of the annunciating angel from the detail of the madonna della misericordia, central panel of the polytych of the misericordia | Sigismondo Pandolfo | Kristi uppstandelse | Related Artists: Adolf Friedrich Erdmann Menzel1815-1905
Realism
German
Joseph Heintz1564-1609
Swiss
Painter, draughtsman, architect and artistic adviser, son of Daniel Heintz.
He began his training as a painter c. 1579 with Hans Bock I (c. 1550-c. 1623) in Basle. His first surviving drawings (1580) show something akin to Holbein manner in his stained-glass window designs. After completing his apprenticeship he went c. 1584 to Rome, where he studied the works of antiquity, and those of Raphael, Michelangelo, Polidoro da Caravaggio and others. In 1587 he went via Florence to Venice, absorbing the works of Tintoretto, Titian and Veronese. In autumn 1591 the Holy Roman Emperor Rudolf II summoned him as portraitist and court painter to Prague but soon sent him back to Italy, where he drew ancient statues in addition to producing his own work and acting as art agent for the Emperor. In 1592-5 he stayed mainly in Rome, then returned to Prague. In the following years he worked indefatigably as a draughtsman, painter, architect and artistic adviser, moving between Augsburg and Prague. PIETERSZ, PieterDutch painter (b. 1540, Antwerpen, d. 1603, Amsterdam)
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