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Concept
Piero della Francesca
Summary
Piero della Francesca (ˌpjɛəroʊ_ˌdɛlə_frænˈtʃɛskə, USalso-_frɑːnˈ-, ˈpjɛːro della franˈtʃeska; ; 1415 – 12 October 1492) was an Italian painter of the Early Renaissance. To contemporaries he was also known as a mathematician and geometer. 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 was born Piero di Benedetto in the town of Borgo Santo Sepolcro, 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.
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. 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.
Piero returned to his hometown in 1442 and was elected to the City Council of Sansepolcro.
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Related courses (2)
MATH-126: Geometry for architects II
Ce cours traite des 3 sujets suivants : la perspective, la géométrie descriptive, et une initiation à la géométrie projective.
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Ce cours entend exposer les fondements de la géométrie à un triple titre :
1/ de technique mathématique essentielle au processus de conception du projet,
2/ d'objet privilégié des logiciels de concept
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Explores the historical development of projective geometry and the contributions of key figures like Alberti and Piero della Francesca.
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Explores algebraic divisions, geometric constructions, Luca Pacioli's contributions, and the constructibility of regular polygons.
Related concepts (20)
Italian Renaissance
The Italian Renaissance (Rinascimento rinaʃʃiˈmento) was a period in Italian history covering the 15th and 16th centuries. The period is known for the initial development of the broader Renaissance culture that spread across Western Europe and marked the transition from the Middle Ages to modernity. Proponents of a "long Renaissance" argue that it started around the year 1300 and lasted until about 1600. In some fields, a Proto-Renaissance, beginning around 1250, is typically accepted.
Luca Pacioli
Fra. Luca Bartolomeo de Pacioli (sometimes Paccioli or Paciolo; 1447 – 19 June 1517) was an Italian mathematician, Franciscan friar, collaborator with Leonardo da Vinci, and an early contributor to the field now known as accounting. He is referred to as the father of accounting and bookkeeping and he was the first person to publish a work on the double-entry system of book-keeping on the continent. He was also called Luca di Borgo after his birthplace, Borgo Sansepolcro, Tuscany.
Masaccio
Masaccio (UKmæˈsætʃioʊ, USməˈsɑːtʃioʊ,_məˈzɑːtʃ(i)oʊ, maˈzattʃo; December 21, 1401 – summer 1428), born Tommaso di Ser Giovanni di Simone, was a Florentine artist who is regarded as the first great Italian painter of the Quattrocento period of the Italian Renaissance. According to Vasari, Masaccio was the best painter of his generation because of his skill at imitating nature, recreating lifelike figures and movements as well as a convincing sense of three-dimensionality. He employed nudes and foreshortenings in his figures.