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 :. | Discovery and Proof of the True Cross | Virgin Annunciate | The Penance of St.Jerome | Adoration of the Holy Wood and the Meeting of Solomon and the Queen of Sheba | madonna della misericordia, central panel of the polyptych of the misericordia |
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Edvard Petersen
(4 February 1841 - 5 December 1911) was a Danish painter. He also designed the Stork Fountain on Amagertorv in Copenhagen From 1851 he attended the Royal Danish Academy of Fine Arts. In the 1860s and 1870s he painted romantic landscape paintings under influence of Vilhelm Kyhn. He was a close friend of fellow painter Theodor Philipsen and together they went on several travels, including two stays in Italy between 1875 and 1880 and a visit to France.The friendship did not seem to influence Petersen's rather conservative style of painting and his works from the times abroad are generally traditional paintings of local life. In the 1880s Petersen painted a number of figure paintings of street life in Copenhagen under influence of French Realism. His most famous paintings are Emigrants on Larsens Plads (1880) and A Return, the America Liner at Larsens Plads (894). With his Stork Fountain proposal, Petersen won the competition for the design of a new fountain on Amagertorv in Copenhagen in 1888. The sculptor Vilhelm Bissen moulded the birds and the fountain was inaugurated in 1904
Berswordt Altar
German Gothic Era Painter, active ca.1400]
Miel, Jan
Dutch Baroque Era Painter, ca.1599-1664 Flemish painter, active in Italy. Miel must have arrived in Rome in the early 1630s; he immediately came under the influence of Pieter van Laer (il Bamboccio) and the BAMBOCCIANTI. His earliest paintings of bambocciate (low-life scenes) are the Bowls Players (1633; Paris, Louvre) and its companion piece The Cobbler (Besan?on, Mus. B.-A. & Arch?ol.). Shortly after his arrival in Rome, Miel joined the Schildersbent, a confraternity of Netherlandish artists, and was given the nickname 'Bieco' ('threatening look'). His presence in Rome is documented from 1636 to 1658, when he moved to Turin and entered the service of Charles-Emanuel II, Duke of Savoy. Other early paintings that can be attributed to the 1630s include Halt at the Inn (Marseille, Mus. B.-A.) and Hunters' Rest (Warsaw, N. Mus.). Both are reworkings, in their subject-matter and composition, of contemporary paintings by van Laer