le poisson de piero della francesca

Jeryldene M Wood Piero della Francesca (ca 1415/20–92) painted for ecclesiastics confrater-nities and the municipal government in his native Sansepolcro for monks and nuns in the nearby towns of Arezzo and Perugia and for illustrious nobles throughout the Italian peninsula Justly esteemed as one of the great painters of the early

the cambridge companion to Piero della Francesca A great master of the early Renaissance Piero della Francesca cre- ated paintings for ecclesiastics confraternities and illustrious nobles throughout the Italian peninsula Since the early twentieth century the rational space abstract designs lucid illumination

39 Piero della Francesca 72-faced solid Libellus de quinque corporibus regularibus 140 40 Piero della Francesca Cruciform vault Libellus de quinque corporibus regularibus 141 41 Piero della Francesca Apse De prospectiva pingendi 141 42 Piero della Francesca Cross vault De prospectiva pingendi 142 43 Intarsia Panel Urbino Palazzo

It is with Piero della Francesca who Giorgio Vasari called ‘the greatest geometer of his times that technique and formalisation began to travel along separate roads the former remaining the patrimony of artists while the latter became the exclusive realm of mathematicians

diers — all these are for Piero objects of contem- plation but they never become merc spectacles descriptions documents or storics such as we find in late Gothic art or in the works of Benozzo Goz- zoli No artist was more averse than Piero della Fran- cesca to trivial curiosity and his vast experience