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 :. | Virgin Annunciate | madonna del parto | Battle between Constantine and Maxentius | Madonna di Senigallia | Discovery and Proof of the True Cross |
Related Artists:
Jozef Chelmonski
(November 7, 1849 - April 6, 1914) was a Polish painter. Chełmoski was born in the village of Boczki near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, he studied in Warsaw Drawing Class (1867-1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmoski lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. He also had studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmoski visited the Polish territories. Tatra Mountains and Ukraine. His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmoski went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased. From 1878 to 1887 Chełmoski visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in Kuklewka Zarzeczna village. Contact with his homeland and nature revealed quality in his artworks. From that time are the best liked Chełmoski's paintings such as Partridge on the Snow, The Storks or Before Thunderstorm.
gottfrid kallstenius
seated male model, 1887-88. royal academy of fine arts
Rogier van der Weyden
Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance ... is, with Jan van Eyck, considered one of the greatest exponents of the school of Early Netherlandish painting. Rogier van der Weyden was born in Tournai as 'Rogier de le Pasture' (Roger of the Pasture) in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watr??los. The family had settled before in the city of Tournai where Rogiers father worked as a 'maître-coutelier' (knife manufacturer). In 1426 Rogier married Elisabeth, the daughter of the Brussels shoemaker Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children: Cornelius, who became a Carthusian monk, was born in 1427, a daughter Margaretha in 1432. Before 21 October 1435 the family settled in Brussels where the two younger children were born: Pieter in 1437 and Jan the next year. From the second of March 1436 onwards held the title of 'painter to the town of Brussels' (stadsschilder) a very prestigious post because Brussels was at that time the most important residence of the splendid court of the Dukes of Burgundy. It was at the occasion of his move to the Dutch-speaking town of Brussels that Rogier began using the Dutch version of his name: 'Rogier van der Weyden'Little is known about Rogier's training as a painter. The archival sources from Tournai (completely destroyed during World War II, but luckily partly transcribed in the 19th and early 20th century) are somewhat confusing and have led to different interpretations by scholars. From a document it is known that the city council of Tournai offered wine in honour of a certain 'Maistre Rogier de le Pasture' on March the 17th 1427. However, on the 5th of March of the following year the records of the painters' guild show a certain 'Rogelet de le Pasture' entered the workshop of Robert Campin together with Jacques Daret. Only five years later, on the first of August 1432, Rogier de le Pasture obtains the title of 'Master' (Maistre) as a painter.[1] Many have doubted whether Campin's apprentice 'Rogelet' was the same as the master 'Rogier' that was offered the wine back in 1426. The fact that in 1426-1427 Rogier was a married man in his late twenties, and well over the normal age of apprenticeship has been used as an argument to consider 'Rogelet' as a younger painter with the same name. In the 1420's however the city of Tournai was in crisis and as a result the guilds were not functioning normally. The late apprenticeship of Rogier/Rogelet may have been a legal formality. Also Jacques Daret was then in his twenties and had been living and working in Campin's household for at least a decade. It is possible that Rogier obtained an academic title (Master) before he became a painter and that he was awarded the wine of honour on the occasion of his graduation. The sophisticated and 'learned' iconographical and compositional qualities of the paintings attributed to him are sometimes used as an argument in favour of this supposition. The social and intellectual status of Rogier in his later life surpassed that of a mere craftsman at that time. In general the close stylistical link between the documented works of Jacques Daret, and the paintings attributed to Robert Campin and Rogier van der Weyden is considered as the main argument to consider Rogier van der Weyden as a pupil of Robert Campin. The last mention of Rogier de la Pasture in the financial records of Tournai, on October 21, 1435, lists him as demeurrant ?? Brouxielles ('living in Brussels'). At the same time, the first mention of Rogier de Weyden is made as the official painter of Brussels. Therefore Rogier de la Pasture and Rogier Van der Weyden are thought to be one and the same painter. The post of city painter was created especially for Van der Weyden and was meant to lapse on his death. It was linked to a huge commission to paint four justice scenes for the 'Golden Chamber' of Brussels City Hall.[2] Different properties and investments are documented and witness his material prosperity. The portraits he painted of the Burgundian Dukes, their relatives and courtiers, demonstrate a close relationship with the elite of the Netherlands. The Miraflores Altarpiece was probably commissioned by King Juan II of Castile, since Juan II donated it to the monastery of Miraflores in 1445.