Life and creativity of Piero della Francesca /part 2/

Thus, the face of the Madonna, emanating both greatness and superhuman power, brings all the characteristics of Renaissance painting. Its impressive architectural composition strengthens the meaningful suggestion: The Virgin is represented above all as a patron of humanity. One of the most significant compositions of the Early Renaissance is the painting of Piero della Francesca, "The Shrubs", probably created in 1455. In it, we find a perfect synthesis of the artist's requirements in terms of perspective, color rendering and the introduction of light. In this composition dominates the concern to impart unity, which is complicatedly compiled, but its complexity does not discredit the powerful meaningful charge of the work, nor its poetic suggestion. There is no excitement on the faces, as their impassivity must be in accordance with the strict compositional scheme. After finishing this work in 1450, probably in Pesaro, Piero went to Ferrara, where he worked on decorative frescoes in the Este family palace. It is where he met a rich collection of works of art by his patron, Ferrara Marquis Leonela d'Este, a discovery that allows him to appreciate the merits of the Flemish painting school whose style will influence his latest works.

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One of the most significant compositions of the Early Renaissance is the painting of Piero della Francesca, "The Shrubs", probably created in 1455. In it, we find a perfect synthesis of the artist's requirements in terms of perspective, color rendering and the introduction of light. In this composition dominates the concern to impart unity, which is complicatedly compiled, but its complexity does not discredit the powerful meaningful charge of the work, nor its poetic suggestion. There is no excitement on the faces, as their impassivity must be in accordance with the strict compositional scheme. After finishing this work in 1450, probably in Pesaro, Piero went to Ferrara, where he worked on decorative frescoes in the Este family palace. It is where he met a rich collection of works of art by his patron, Ferrara Marquis Leonela d'Este, a discovery that allows him to appreciate the merits of the Flemish painting school whose style will influence his latest works. The first painting by Piero della Francesca, which combines the northern influence and tradition of the then Italian landscape painting, is "Striking Saint Jerome" (1450). Extensions of the quests found in the Wrathing are the paintings of the artist "The Baptism of Christ". Piero manages to convey impressively the spatial breadth and the elevating openness of the landscape to the sky. In 1451, Piero della Francesca was summoned to the yard of Sihizmundo Pandolfo Malatesta in Rimini to embellish the chapel in which relics were kept from the Malatesta family. In the fresco depicting Sichizmundo Malatesta on his knees before Saint Sichimmundo, the King of the Burgundy, was used to create the illusion of reality / trump-l-yo / frame, whose details are derived from the classical style. This is Piero's oldest preserved fresco, featuring individual vowels, but not as a religious-ritual scene, but as a formal palace scene.

Between 1452 and 1459, Piero della Francesca devoted himself to his most remarkable creation - the decoration of the church wall of the San Francesco Church in Arezzo. In a cycle of frescoes, the artist follows the Story of the True Cross of Christ, derived from Jacques de Voyagein's famous Medieval Collection, The Golden Legend. This theme was characteristic of the iconography traditionally held in the Franciscan monastic brotherhood. Traditionally, there is a division of the wall into three registers, but the artist abandons the chronological order in the arrangement of the scenes and gives the advantage of combining them in terms of analogy and symmetry, which is his own choice. The narrative approach focuses on the atmosphere that dominates the story. Piero della Francesca builds on the legend a kind of symbolic symbolism that is typical of the writings of humanists in the 15th century, and so it loads the allegorical legend of universal significance. The presentation of Adam's death is in keeping with the conventions of classical sculpture, whose exemplary talents the artist acquainted with during his stay in Rome. Solomon's meeting with the queen of Saba was developed as a contemporary scene that unfolds in accordance with the slow rhythm of the solemn procession. The Queen and Solomon stand out as imposing figures on a background of a Renaissance-style building. The whole composition emits an impressively solemn and distinct suggestion thanks to the clarity of manners in the rendering of the faces and poses.