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symbolizes blood and the crown of thorns Christ will wear. This child who will suffer a horrendous death reaches for his acceptance of fate. Mary does not pull the flower back. You sense an inner agony, noticing her deep-blue robe open to reveal scarlet beneath, symbol of outward passion and pain to come. In the dead-center vertical line of the painting is Christ's right palm that will be nailed to the cross."
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Saltz wrote, "The Virgin and child are elevated two steps. They are in a world itself apart from this world apart. Mary isn't looking at her child and looks instead at the rose he reaches for. You begin to glean the revelation she is having. The flower represents love, devotion, and beauty. It also
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is generally considered Piero's oldest work in Urbino (c. 1455–1470). It is one of the most famous and controversial pictures of the early
Renaissance. As discussed in its own entry, it is marked by an air of geometric sobriety, in addition to presenting a perplexing enigma as to the nature of
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Piero's deep interest in the theoretical study of perspective and his contemplative approach to his paintings are apparent in all his work. In his youth, Piero was trained in mathematics, which most likely was for mercantilism. Three treatises written by Piero have survived to the present day:
2538:, ; eds. Roberto Manescalchi, Matteo Martelli, James Banker, Giovanna Lazzi, Pierdaniele Napolitani, Riccardo Bellè. Sansepolcro, Grafica European Center of Fine Arts e Vimer Industrie Grafiche Italiane, 2007. 2 vol. (82 ff., XIV-332 pp. English, French, Spanish, German, Italian and Arabic).
497:, 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
504:
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
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in 1485. It is documented that Piero rented a house in Rimini in 1482. Piero made his will in 1487 and he died five years later, on 12 October 1492, in his own house in
Sansepolcro. He left his possessions to his family and the church.
994:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge (XXG).
69:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge (XXG).
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815:. The portraits in profile take their inspiration from large bronze medals and stucco roundels with the official portraits of Fedederico and his wife. Other paintings made in Urbino are the monumental
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2149:"On the Sphere and the Cylinder; On the Measurement of the Circle; On Conoids and Spheroids; On Spirals; On the Equilibrium of Planes; On the Quadrature of the Parabola; The Sand Reckoner"
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Although he may have given up painting in his later years, Vasari's remarks that he went blind at the age of 60 have to be doubted, since he completed his 1485 treatise on
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in London, was completed in about 1450 for the high altar of the church of the Priory of S. Giovanni
Battista at Sansepolcro. Other notable works are the frescoes of
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2525:, corredato della versione volgare ; eds. Cecil Grayson,... Marisa Dalai Emiliani, Carlo Maccagni. Firenze, Giunti, 1995. 3 vol. (68 ff., XLIV-213, XXII-223 pp.).
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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.
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Piero returned to his hometown in 1442 and was elected to the City
Council of Sansepolcro. Three years later, he received his first commission, to paint the
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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in New York collected seven of the eight paintings of Piero known to exist in the United States. Of the seven paintings in the exhibit, critic
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2435:, F. Warne & Co., London and New York, 1930; new ed. with expansions until 1962, 1963 translation by David Tabbat: Sheep Meadow, 2002.
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for the church of the
Misericordia in Sansepolcro, which was completed in the early 1460s. In 1449 he executed several frescoes in the
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who was known as "la
Gioconda" through her marriage into the Giocondo family). Romana supported his education in mathematics and art.
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1922:(2002), pp. 20-21. (Pope-Hennessy believes that the painting of Saint John the Evangelist is probably actually St. Simon, p. 19.)
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2595:, with essays by James R. Banker and Machtelt Israëls, and an appendix by Giacomo Guazzini and Elena Squillantini. New York:
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Piero's geometrical perfection and the almost magic atmosphere of the light in his painting inspired modern painters like
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Content in this edit is translated from the existing French
Knowledge (XXG) article at ]; see its history for attribution.
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Content in this edit is translated from the existing French
Knowledge (XXG) article at ]; see its history for attribution.
2272:, New York, 2013. With contributions by Roberto Belluci, Cecilia Frosinini, Anna Pizzati, and Chiara Rossi Scarzanella.
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Banker, James R., "Piero della
Francesca as Assistant to Antonio d'Anghiari in the 1430s: Some Unpublished Documents",
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in his own handwriting. Machtelt Brüggen Israëls, however, wrote in 2020 that Piero was blind in his last months.
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write that Guidobaldo "was born too late to have been Piero's first patron, Vasari probably means to allude to
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in the mid-1470s to 1480s. By 1480, his vision began to deteriorate, but he continued writing treatises such as
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in general. The story in these frescoes derives from legendary medieval sources as to how timber relics of the
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for the church of Sant'Egidio in Florence, now lost. In Florence he must have met leading masters like
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record that he was encouraged to pursue the interest in perspective which was shared by the Duke.
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2511:, Vol. 23 (March 1941), pp. 53-68; reprinted with alterations and additions in Millard Meiss,
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Piero della Francesca: The Legend of the True Cross in the Church of San Francesco in Arezzo
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Piero della Francesca: The Legend of the True Cross in the Church of San Francesco in Arezzo
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2556:, Walter Neurath Memorial Lectures, Thames and Hudson, London, 1991; new ed. expanded with
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Archimede latino.Iacopo da San Cassiano e il corpus archimedeo alla metà del Quattrocento
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928:, wrote, "The most splendid picture in the Frick exhibition is the magnificent figure of
433:, nowadays chiefly appreciated for his art. His painting is characterized by its serene
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in Lisbon, a companion to Saint John the Evangelist on the Sant'Agostino altarpiece".
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and is a copy of the translation of the Archimedean corpus made by Italian humanist
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Turner, A. Richard (1976). "Piero della Francesca". In William D. Halsey (ed.).
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1970:
1646:," who was Federico's father. By contrast, Machtelt Brüggen Israëls writes in
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1113:. Much of Piero's work was later absorbed into the writing of others, notably
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568:, now also lost. His influence was particularly strong in the later Ferrarese
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2599:, 2013. Catalogue for exhibition of the same name listed in "External links".
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cycle of frescoes is generally considered among his masterworks and those of
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A Manuscript of the Works of Archimedes in the Hand of Piero della Francesca
1707:. Vol. 19. New York: Macmillan Educational Corporation. pp. 40–42.
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2362:, New York: Macmillan, 1968, and London: Weidenfeld & Nicolson, 1968.
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in the church of Sant'Agostino in Sansepolcro. The central panel of this
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2635:, exhibition at The Frick Collection, February 12, 2013 to May 19, 2013.
2450:, with Giovanna Melandri, Stefano Casciu, and Carla Corsi. Skira, 2000.
2623:"The Art of Piero della Francesco", Lecture by Machtelt Brüggen Israëls
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The Painter's Choice: Problems in the Interpretation of Renaissance Art
2480:, Grafica European Center of Fine Art (Terre di Piero), Firenze, 2011.
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The Golden Ratio: The Story of Phi, the World's Most Astonishing Number
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In the late 1450s, Piero copied and illustrated the following works of
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to the source of your translation. A model attribution edit summary is
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to the source of your translation. A model attribution edit summary is
1650:, p. 43, that Vasari was "possibly intending Federico di Montefeltro".
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Tempera and oil on panel, 273 x 330 cm, Museo Civico Sansepolcro
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Piero della Francesca in America: From Sansepolcro to the East Coast
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The Culture of Sansepolcro during the Youth of Piero della Francesca
493:, to Benedetto de' Franceschi, a tradesman, and Romana di Perino da
2639:"Featured Catalogue—Interview with the Curator: Keith Christiansen"
1914:, Milan. The paintings are identified and pictured in Cole, Bruce,
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is lost, and the four panels of the wings, with representations of
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Piero della Francesca: Tradition and Innovation in Renaissance Art
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Piero della Francesca: Tradition and Innovation in Renaissance Art
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Piero della Francesca: Tradition and Innovation in Renaissance Art
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La grecità antica e bizantina nell'opera di Piero della Francesca
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translation of Vasari, pp. 533-534, Julia Conaway Bondanella and
634:. In 1451, during that sojourn, he executed the famous fresco of
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1804:
Lives of the Most Excellent Painters, Sculptors, and Architects
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Sigismondo Pandolfo Malatesta Praying in Front of St. Sigismund
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1930:
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consists of 82 folio leaves, is held in the collection of the
1024:{{Translated|fr|Piero della Francesca#Piero le mathématicien}}
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1117:. Piero's work on solid geometry was translated in Pacioli's
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Detached fresco, 260 × 203 cm, Chapel of the cemetery,
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Oil on panel, 124.5 × 123 cm, National Gallery, London
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frequently visited his workshop. He completed the treatise
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Portrait of Piero della Francesca from a 1648 edition of
2138:, «Burlington Magazine», CXLVII, March 2005, pp. 165–69.
1947:"The Golden Legend, or Lives of the Saints" Volume Three
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The American Heritage Dictionary of the English Language
924:
By contrast, Walter Kaiser, reviewing the exhibition in
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Manescalchi, Roberto, "Piero alla corte dei Pichi", in
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Tempera and oil on panels, dispersed in several museums
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Diptych of Federico da Montefeltro and Battista Sforza
2507:, "A Documented Altarpiece by Piero della Francesca",
2465:, texts by Marilyn Aronberg Lavin et al. Skira, 2001.
2431:, Rom, 1927; Engl. ed. translated by Leonard Penlock:
2290:. Phaidon Publishers. First ed. 1951, second ed. 1969.
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came to be found. These stories were collected in the
689:, he moved to Rome, where he executed frescoes in the
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artists active in San Sepolcro during his youth; e.g.
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Piero della Francesca and the Invention of the Artist
2005:
Piero della Francesca and the Invention of the Artist
1848:, Vol. 135, No. 1078 (January 1993). pp. 16–21.
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Piero della Francesca and the Invention of the Artist
778:, where Piero "executed several commissions for Duke
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in the church of San Francesco in the Tuscan town of
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The Story of Civilization, Volume V: The Renaissance
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Fresco, 225 × 200 cm, Museo Civico Sansepolcro
1342:Fresco (transferred to canvas), 257 x 345 cm,
1205:wrote a three movement work for orchestra entitled
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a machine-translated version of the French article.
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a machine-translated version of the French article.
2388:, March 21, 2013. Review of Silver, Nathaniel E.,
1093:). The subjects covered in these writings include
3008:15th-century people from the Republic of Florence
2560:, "The Best Picture", The Little Bookroom, 2002.
2110:(First trade paperback ed.). New York City:
811:of Federico and his wife Battista Sforza, in the
485:Piero was born Piero di Benedetto in the town of
1835:, The University of Michican Press, 2003, p.159.
441:. His most famous work is the cycle of frescoes
2360:Piero Della Francesca and the Early Renaissance
2316:Un souvenir d'enfance par Piero della Francesca
1364:Tempera and oil on panel, 44.5 × 34.5 cm,
636:St. Sigismund and Sigismondo Pandolfo Malatesta
2175:Paolo d'Alessandro e Pier Daniele Napolitani,
2018:"Saltz on Piero della Francesca at the Frick".
1012:accompanying your translation by providing an
974:Click for important translation instructions.
961:expand this article with text translated from
762:(Jacopo da Varagine) of the mid-13th century.
87:accompanying your translation by providing an
49:Click for important translation instructions.
36:expand this article with text translated from
2664:
2478:L'Ercole di Piero, tra mito e realtà,(ParteI)
819:(1474) in the Brera Gallery in Milan and the
807:Another famous work painted in Urbino is the
726:In 1452, Piero della Francesca was called to
8:
2587:. Vol. 10 (11th ed.). p. 930.
2461:Maetzke, Anna Maria; Bertelli, Carlo, eds.,
2401:Piero della Francesca: San Francesco, Arezzo
2318:, Edition du Seuil, Paris, 1997; Engl. ed.:
2056:Piero della Francesca. A Mathematician's Art
1991:
1958:
1934:
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1819:
1634:, who was Federico's son. However, in their
734:in painting the frescoes of the basilica of
541:'s frescoes and his majestic figures in the
2320:A Childhood Memory by Piero della Francesca
1563:Diptych of the Count and Countess of Urbino
1329:Tempera and oil on panel, 49 × 42 cm,
915:Virgin and Child Enthroned With Four Angels
892:Virgin and Child Enthroned With Four Angels
646:. In Rimini, Piero may have met the famous
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2523:Libellus de quinque corporibus regularibus
2342:The Enigma of Piero: Piero della Francesca
2266:Piero Della Francesca: Personal Encounters
789:the three men standing at the foreground.
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124:
2733:Portrait of Sigismondo Pandolfo Malatesta
1918:, pp. 44-45, and in Pope-Hennessy, John,
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1352:Portrait of Sigismondo Pandolfo Malatesta
2251:, New York: The Macmillan Company, 1954.
1576:Oil on panel, each 47,4 × 33,6 cm,
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513:. In 1439 Piero received, together with
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1619:
1407:Tempera on panel, 58.4 x 81.5 cm,
1325:St. Jerome and a Donor (Girolamo Amadi)
99:{{Translated|fr|Piero della Francesca}}
1461:Fresco (detached), 151 × 126 cm,
1215:, it was premiered by Kubelik and the
673:In 1454, he signed a contract for the
2930:The Frescoes of Piero della Francesca
2235:Piero della Francesca: Artist and Man
1296:Tempera on panel, 168 × 116 cm,
1208:Les Fresques de Piero della Francesca
876:Short Book on the Five Regular Solids
860:In his later years, painters such as
405:
391:
7:
2492:Studi e Documenti Pierfrancescani II
2340:, Eunaudi, Torino, 1982; Engl. ed.:
3013:15th-century Italian mathematicians
2515:, Harper and Row, 1976, pp. 82-104.
2403:, New York: George Braziller, 1994.
2322:, Stanford University Press, 2007.
1316:Tempera on panel, 51 × 38 cm,
722:Frescoes in San Francesco at Arezzo
697:, which have since been destroyed.
2633:"Piero della Francesca in America"
2300:, HarperCollins Publishers, 1991.
2179:, Paris, Les Belles Lettres, 2012.
1063:Trattato d'Abaco (Abacus Treatise)
765:
14:
2911:De quinque corporibus regularibus
2344:, Verso, 1985, new edition 2002.
1599:Oil on panel, 67 × 53.5 cm,
1553:Oil on panel, 248 × 170 cm,
1534:Oil on panel, 338 × 230 cm,
1388:Basilica of San Francesco, Arezzo
1076:De quinque corporibus regularibus
828:In Urbino Piero met the painters
738:. The work was finished in 1464.
564:and the church of Sant'Andrea of
437:, its use of geometric forms and
393:[ˈpjɛːrodellafranˈtʃeska]
189:Sansepolcro, Republic of Florence
2610:
2390:Piero della Francesca in America
2237:, Oxford University Press, 2014,
1676:, son and heir of Duke Federico.
1219:at the 1956 Salzburg Festival.
948:
940:Work in mathematics and geometry
691:Basilica di Santa Maria Maggiore
358:
261:
23:
2554:The Piero della Francesca Trail
1920:The Piero della Francesca Trail
1601:Galleria Nazionale delle Marche
1463:Isabella Stewart Gardner Museum
1409:Galleria Nazionale delle Marche
2270:The Metropolitan Museum of Art
1777:Merriam-Webster.com Dictionary
1536:Galleria Nazionale dell'Umbria
1173:The Quadrature of the Parabola
1022:You may also add the template
917:for its exemplary qualities.
97:You may also add the template
1:
3018:15th-century Italian painters
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2860:
2837:
2822:
2799:
2787:Polyptych of the Misericordia
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2737:
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2707:
2578:"Franceschi, Piero de'"
2007:, Reaktion Books, 2020, p. 7.
1752:(5th ed.). HarperCollins
1591:
1526:
1508:
1473:
1453:
1435:
1399:
1378:
1374:The History of the True Cross
1356:
1308:
1288:
1273:Polyptych of the Misericordia
1256:
934:Museu Nacional de Arte Antiga
913:magazine singled out Piero's
741:The History of the True Cross
707:The History of the True Cross
632:Sigismondo Pandolfo Malatesta
612:Sigismondo Pandolfo Malatesta
465:
444:The History of the True Cross
415:
159:
2958:Italian Renaissance painters
2748:Saint Julian the Hospitaller
2386:The New York Review of Books
2038:The New York Review of Books
1420:Polyptych of Saint Augustine
1167:On the Equilibrium of Planes
1127:. Biographers of his patron
1105:and innovative work in both
926:The New York Review of Books
883:Criticism and interpretation
846:Francesco di Giorgio Martini
675:Polyptych of Saint Augustine
650:mathematician and architect
2382:"The Noble Dreams of Piero"
2365:Israëls, Machtelt Brüggen,
2034:"The Noble Dreams of Piero"
2003:Israëls, Machtelt Brüggen,
1949:, retrieved on 22 May 2007.
1908:Saint Nicholas of Tolentino
1481:Fresco, 190 × 180 cm,
1035:Knowledge (XXG):Translation
517:, payments for his work on
110:Knowledge (XXG):Translation
3044:
2810:Saint Augustine Altarpiece
2643:Metropolitan Museum of Art
2446:Maetzke, Anna Maria, ed.,
2392:and the exhibition at the
1644:Guidantonio da Montefeltro
1522:Polyptych of Saint Anthony
1395:The Flagellation of Christ
1145:On the Sphere and Cylinder
1091:On Perspective in painting
1081:On the Five Regular Solids
986:Machine translation, like
901:In a 2013 exhibition, the
894:by Piero della Francesca,
871:On Perspective in Painting
766:Piero's activity in Urbino
623:Two years later he was in
556:Madonna della Misericordia
421:– 12 October 1492) was an
61:Machine translation, like
2900:(treatise on perspective)
2703:History of the True Cross
2573:Rossetti, William Michael
2413:, Abbeville Press, 1992.
2399:Lavin, Marilyn Aronberg,
2062:. Yale University Press.
1900:Saint John the Evangelist
1674:Guidobaldo da Montefeltro
1632:Guidobaldo da Montefeltro
963:the corresponding article
654:, who had redesigned the
134:
38:the corresponding article
2906:(treatise on arithmetic)
2369:, Reaktion Books, 2020.
2023:magazine, March 3, 2013.
1992:Durant & Durant 2011
1959:Durant & Durant 2011
1935:Durant & Durant 2011
1871:Durant & Durant 2011
1820:Durant & Durant 2011
1156:On Conoids and Spheroids
1123:, a work illustrated by
840:, the mathematician Fra
593:in Sansepolcro, and the
3023:Italian Roman Catholics
3003:People from Sansepolcro
2914:(treatise on polyhedra)
2897:De Prospectiva pingendi
2779:Saint Louis of Toulouse
2584:Encyclopædia Britannica
2084:"Piero della Francesca"
1846:The Burlington Magazine
1772:"Piero della Francesca"
1744:"Piero della Francesca"
1730:Oxford University Press
1719:"Piero della Francesca"
1636:Oxford World's Classics
1568:Federico da Montefeltro
1331:Gallerie dell'Accademia
1305:St. Jerome in Penitence
1151:Measurement of a Circle
1129:Federico da Montefeltro
1086:De Prospectiva pingendi
1033:For more guidance, see
780:Federico da Montefeltro
543:Santa Maria del Carmine
108:For more guidance, see
2933:(1955 orchestral work)
2695:Flagellation of Christ
2591:Silver, Nathaniel E.,
2476:Manescalchi, Roberto,
1705:Collier's Encyclopedia
1549:Montefeltro Altarpiece
1267:
1192:Iacopo da San Cassiano
1188:Biblioteca Riccardiana
1056:
898:
817:Montefeltro Altarpiece
804:
798:Montefeltro Altarpiece
718:
644:portrait of Sigismondo
620:
472:
232:Flagellation of Christ
2993:Italian male painters
2968:Painters from Tuscany
2963:Quattrocento painters
2953:Piero della Francesca
2856:Madonna di Senigallia
2680:Piero della Francesca
2617:Piero della Francesca
2433:Piero della Francesca
2411:Piero della Francesca
2288:Piero della Francesca
2249:The Ineloquent in Art
2245:Piero della Francesca
2154:World Digital Library
1726:UK English Dictionary
1587:Madonna di Senigallia
1578:Galleria degli Uffizi
1477: 1466, 1458–70s
1284:The Baptism of Christ
1252:The Baptism of Christ
1249:
1051:
1006:copyright attribution
890:
850:Leon Battista Alberti
822:Madonna of Senigallia
795:
703:
652:Leon Battista Alberti
609:
457:
257:Piero della Francesca
226:The Baptism of Christ
129:Piero della Francesca
81:copyright attribution
2998:Mathematical artists
2833:Polyptych of Perugia
2629:, November 20, 2019.
2619:at Wikimedia Commons
2494:, Sansepolcro 2014.
2429:Piero de' Franceschi
2396:that it accompanied.
2254:Chieli, Francesca, "
1888:Museu de Arte Antiga
1882:The four saints are
848:, and probably also
746:Renaissance painting
603:, near Sansepolcro.
537:. The classicism of
487:Borgo Santo Sepolcro
425:, mathematician and
172:Republic of Florence
2550:Pope-Hennessy, John
2262:Christiansen, Keith
1912:Museo Poldi Pezzoli
1724:Oxford Dictionaries
1630:, Piero worked for
1555:Pinacoteca di Brera
1344:Tempio Malatestiano
1217:Vienna Philharmonic
896:Clark Art Institute
656:Tempio Malatestiano
640:Tempio Malatestiano
2988:Medieval geometers
2536:Piero's Archimedes
2233:Banker, James R.,
2208:Simon and Schuster
1831:Banker, James R.,
1470:St. Mary Magdalene
1268:
1224:Giorgio de Chirico
1120:Divina proportione
1057:
1052:First page of the
1014:interlanguage link
899:
836:, and the Flemish
805:
719:
627:, working for the
621:
515:Domenico Veneziano
473:
411:Piero di Benedetto
156:Piero di Benedetto
89:interlanguage link
3028:Catholic painters
2940:
2939:
2756:Madonna del Parto
2718:Baptism of Christ
2615:Media related to
2544:978-88-95450-25-4
2486:978-88-95450-05-6
2407:Lightbown, Ronald
2338:Indagini su Piero
2278:978-1-58839-529-0
2258:", Firenze, 1993.
2241:Berenson, Bernard
2088:Oxford Art Online
2040:, March 21, 2013.
1780:. Merriam-Webster
1604:
1581:
1558:
1539:
1517:
1499:
1490:Madonna del Parto
1485:
1483:Cathedral, Arezzo
1466:
1444:
1426:
1415:
1390:
1369:
1347:
1334:
1321:
1318:Staatliche Museen
1301:
1279:
1179:The Sand Reckoner
1125:Leonardo da Vinci
1046:
1045:
975:
971:
774:invited Piero to
760:Jacopo da Varazze
596:Madonna del parto
581:Baptism of Christ
527:Luca della Robbia
431:Early Renaissance
254:
253:
249:Early Renaissance
186:(aged 76–77)
121:
120:
50:
46:
3035:
2904:Trattato d'abaco
2880:
2879: 1470–1475
2877:
2865:
2862:
2842:
2839:
2827:
2826: 1465–1472
2824:
2804:
2801:
2773:
2770:
2742:
2739:
2727:
2726: 1448–1450
2724:
2712:
2709:
2673:
2666:
2659:
2650:
2645:, March 5, 2014.
2627:Frick Collection
2614:
2597:Frick Collection
2588:
2580:
2509:The Art Bulletin
2394:Frick Collection
2380:Kaiser, Walter,
2221:
2180:
2173:
2167:
2166:
2164:
2162:
2145:
2139:
2132:
2126:
2125:
2098:
2092:
2091:
2080:
2074:
2073:
2061:
2047:
2041:
2032:Kaiser, Walter,
2030:
2024:
2014:
2008:
2001:
1995:
1989:
1978:
1968:
1962:
1956:
1950:
1944:
1938:
1932:
1923:
1906:, New York; and
1904:Frick Collection
1896:National Gallery
1880:
1874:
1868:
1857:
1842:
1836:
1829:
1823:
1817:
1808:
1796:
1790:
1789:
1787:
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1768:
1762:
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1757:
1740:
1734:
1733:
1715:
1709:
1708:
1700:
1677:
1670:
1664:
1657:
1651:
1640:Peter Bondanella
1624:
1598:
1596:
1593:
1575:
1552:
1533:
1531:
1528:
1515:
1513:
1510:
1494:
1480:
1478:
1475:
1460:
1458:
1455:
1442:
1440:
1437:
1424:
1406:
1404:
1401:
1385:
1383:
1380:
1363:
1361:
1358:
1341:
1328:
1315:
1313:
1310:
1298:National Gallery
1295:
1293:
1290:
1277:
1264:National Gallery
1261:
1258:
1228:Massimo Campigli
1203:Bohuslav Martinů
1071:
1054:Trattato d'Abaco
1025:
1019:
992:Google Translate
973:
969:
952:
951:
944:
903:Frick Collection
844:, the architect
830:Melozzo da Forlì
785:The Flagellation
732:Bicci di Lorenzo
614:kneeling before
590:The Resurrection
585:National Gallery
562:Castello Estense
470:
467:
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139:
125:
100:
94:
67:Google Translate
48:
44:
27:
26:
19:
3043:
3042:
3038:
3037:
3036:
3034:
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2943:
2942:
2941:
2936:
2917:
2884:
2878:
2863:
2840:
2825:
2802:
2771:
2740:
2725:
2710:
2682:
2677:
2607:
2602:
2571:
2425:Longhi, Roberto
2334:Ginzburg, Carlo
2312:Damisch, Hubert
2229:
2227:Further reading
2224:
2218:
2192:
2188:
2183:
2174:
2170:
2160:
2158:
2147:
2146:
2142:
2133:
2129:
2122:
2114:. p. 126.
2100:
2099:
2095:
2082:
2081:
2077:
2070:
2059:
2049:
2048:
2044:
2031:
2027:
2015:
2011:
2002:
1998:
1990:
1981:
1969:
1965:
1957:
1953:
1945:
1941:
1933:
1926:
1884:Saint Augustine
1881:
1877:
1869:
1860:
1843:
1839:
1830:
1826:
1818:
1811:
1799:Vasari, Giorgio
1797:
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1770:
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1765:
1755:
1753:
1742:
1741:
1737:
1717:
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1702:
1701:
1690:
1681:
1680:
1671:
1667:
1658:
1654:
1625:
1621:
1611:
1594:
1572:Battista Sforza
1529:
1511:
1476:
1456:
1438:
1402:
1381:
1366:Musée du Louvre
1359:
1311:
1291:
1259:
1244:
1232:Felice Casorati
1211:. Dedicated to
1200:
1065:
1042:
1041:
1040:
1023:
1017:
976:
953:
949:
942:
930:Saint Augustine
885:
866:Luca Signorelli
858:
838:Justus van Gent
809:Double Portrait
770:At some point,
768:
724:
687:Pope Nicholas V
642:, as well as a
551:
499:Lisa Gherardini
483:
478:
468:
423:Italian painter
418:
398:
397:
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388:
384:- frahn-
361:
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182:12 October 1492
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51:
28:
24:
17:
16:Italian painter
12:
11:
5:
3041:
3039:
3031:
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3025:
3020:
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3000:
2995:
2990:
2985:
2983:Artist authors
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2699:
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2683:
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2676:
2675:
2668:
2661:
2653:
2647:
2646:
2636:
2630:
2620:
2606:
2605:External links
2603:
2601:
2600:
2589:
2569:
2547:
2533:
2516:
2505:Meiss, Millard
2502:
2500:978-8895450445
2488:
2474:
2471:978-8884910233
2459:
2444:
2422:
2419:978-1558591684
2404:
2397:
2378:
2375:978-1789143218
2363:
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2309:
2291:
2284:Clark, Kenneth
2281:
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2225:
2223:
2222:
2216:
2189:
2187:
2184:
2182:
2181:
2168:
2140:
2134:James Banker,
2127:
2120:
2112:Broadway Books
2093:
2075:
2068:
2042:
2025:
2016:Saltz, Jerry,
2009:
1996:
1994:, p. 465.
1979:
1963:
1961:, p. 466.
1951:
1939:
1937:, p. 464.
1924:
1875:
1873:, p. 463.
1858:
1837:
1824:
1822:, p. 462.
1809:
1791:
1763:
1735:
1710:
1687:
1679:
1678:
1665:
1661:regular solids
1652:
1628:Giorgio Vasari
1618:
1617:
1610:
1607:
1606:
1605:
1583:
1559:
1551:, (1472–74) –
1540:
1518:
1500:
1486:
1467:
1445:
1427:
1416:
1391:
1386:Fresco cycle,
1382: 1455–66
1370:
1348:
1335:
1322:
1312: 1449–51
1302:
1292: 1448–50
1280:
1243:
1242:Selected works
1240:
1213:Rafael Kubelik
1199:
1196:
1107:solid geometry
1044:
1043:
1039:
1038:
1031:
1020:
998:
995:
984:
977:
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947:
941:
938:
884:
881:
857:
854:
772:Giovanni Santi
767:
764:
723:
720:
712:Queen of Sheba
695:Vatican Palace
550:
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482:
479:
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469: 1463–65
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2848:Brera Madonna
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2567:
2566:1-892145-13-8
2563:
2559:
2558:Aldous Huxley
2555:
2551:
2548:
2545:
2541:
2537:
2534:
2532:
2531:88-09-01020-5
2528:
2524:
2520:
2519:Pacioli, Luca
2517:
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2356:Hendy, Philip
2354:
2351:
2350:1-85984-378-6
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2328:0-8047-3442-9
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2217:9781451647624
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1626:According to
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1584:
1579:
1573:
1569:
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184:(1492-10-12)
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2978:1492 deaths
2973:1415 births
2864: 1474
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2841: 1470
2813:(1454–1469)
2803: 1465
2790:(1460–1462)
2772: 1460
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2741: 1451
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2294:Cole, Bruce
2157:. 1450–1460
1971:Cole, Bruce
1595: 1474
1530: 1470
1512: 1470
1457: 1465
1439: 1463
1403: 1460
1360: 1451
1260: 1450
1111:perspective
1066: [
909:writing in
907:Jerry Saltz
856:Later years
730:to replace
648:Renaissance
629:condottiero
574:Cosimo Tura
570:allegorical
549:Mature work
481:Early years
439:perspective
419: 1415
195:Nationality
168:Sansepolcro
163: 1415
2947:Categories
1898:, London;
1890:, Lisbon;
1609:References
1580:, Florence
1184:manuscript
1161:On Spirals
1140:Archimedes
1095:arithmetic
750:True Cross
558:altarpiece
2687:Paintings
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2104:(2003) .
1684:Citations
1614:Footnotes
1538:, Perugia
1497:Monterchi
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965:in French
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601:Monterchi
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476:Biography
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2889:Writings
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2053:(2005).
2021:New York
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