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 :. | St.Michael 02 | Battle between Constantine and Maxentius | Detail of Baptism of Christ | The christening of Christ | the legend of the true cross, detail |
Related Artists:
James Holworthy
(d. 1841) was a British watercolour artist. Some of Holworthy's art can be seen in the Tate Gallery. Holworthy exhibited at the Royal Academy in 1803 and 1804. In the latter year he was one of the foundation members of the Society of Painters in Water-colours, now known as the Royal Watercolour Society,and he contributed constantly to their exhibitions till 1813. His subjects being drawn from Wales, the Lake district, and Yorkshire. He practised in London till 1822. In 1900, there were two drawings by him at the South Kensington Museum. In 1821, Holworthy was living in Barton in the Beans, Leicestershire. In either 1821[2] or 1824 he married Anne Wright,[3] a niece of John Wright in Derby, and retired to the Brookfield estate, near Hathersage in Derbyshire, which he had purchased. He died in London in 1841
Alhed Larsen
Alhed Maria Larsen nee Warberg (7 April 1872, Heden near Faaborg - 31 August 1927, Odense), the wife of Johannes Larsen, was one of the Fynboerne or "Funen Artists" who lived and worked on the Danish island of Funen. Alhed Larsen was the daughter of Albrecht Christoffer Warberg, who managed the Erikshåb estate in the south of Funen. The estate became an early meeting place for the artists who later became known as the Fynboerne. As early as 1885, Larsen began to have painting lessons with Fritz Syberg and she became a friend of Johannes Larsen, whom she married in 1898, and of Peter Hansen. Anna Syberg, Hansen's sister, Marie Schou and Christine Swane, Johannes Larsen's sister, became lifelong companions. Ahled Larsen appears to have been a central figure for the Funen Painters, frequently acting as hostess. Alhed Larsen had also had drawing lessons from her uncle Ludvig Brandstrup with whom she stayed in Copenhagen where she worked as a porcelain decorator at the Royal Copenhagen factory from 1890 to 1893. When she finally married Johannes Larsen in 1898, the couple moved to Kerteminde in north-east Funen where they soon built their new home, Mollebakken, on the outskirts of the town. The house was extended on several occasions, becoming one of the most beautiful artists' homes in the country. With its 16 bedrooms, it served as a central meeting place for the Funen Painters and their friends, in the caring hands of Alhed Larsen.
Salomon de Bray
(Amsterdam, 1597 - Haarlem, 11 May 1664) was a Dutch Golden Age architect and painter. De Bray established himself in Haarlem before 1617, where he is registered as being a member of the schutterij that year in the St. Adrian's cloveniers.[1] He probably followed draftsmanship and painting lessons in the small academy started by Karel van Mander, Hendrick Goltzius and Cornelis van Haarlem, and where he married in 1625. He is registered as a pupil of Goltzius and Cornelis van Haarlem, but he probably started his training in Amsterdam with Jan Pynas, Nicolaes Moeyaert and Pieter Lastman.He painted history paintings, portraits and landscapes. As a Catholic he probably also made altar pieces for the Haarlem underground Catholic churches known as mission stations, or staties. He was a member of the Chamber of rhetoric called "De Wijngaertranken". This is probably how he met his wife Anna, the sister of the painter Jan and the poet Jacob Westerbaen. They married in 1625 and in 1630 he became a member of the Haarlem Guild of St. Luke. He cooperated with fellow Haarlem lukasguild member Jacob van Campen in the decoration of Huis ten Bosch in The Hague. His works draw on the spirit of the Dutch classicism beginning at that time, and are comparable with those of Pieter de Grebber. Transcription of Salomon de Bray's proposed hierarchy of the guild in 1631. The Haarlem archivist C.J. Gonnet published a book in 1877 on the Haarlem St. Lukasgilde archives. This was meant for historians wishing to do research on Haarlem painting, but who could not read the old handwriting.De Bray was also active as a designer of silverwork, as a poet, as an architect and as a town planner for the city council of Haarlem. He designed an ambitious plan to expand the city on the North side that was partially implemented in the decades after his death. He became headman of the Guild of St. Luke and even prepared a new charter for the guild (that was never ratified) in 1631. As an architect, he was involved in the construction or expansion of Haarlem's City Hall, Zijlpoort, and St. Annakerk (Church of St. Anne), and Nijmegen's city orphanage. One of his poems was set to music by his friend the composer Cornelis Padbru??. Salomon de Bray was the father of ten children, of whom three (Dirck de Bray, Jan de Bray, and Joseph de Bray) became notable artists. He probably died of the plague that hit Haarlem in 1664, as he and his children Jacob, Josef, Juliana and Margaretha all died in April and May of that year. His wife had already died the previous year. He was buried in the Sint-Bavokerk in Haarlem. In 1631 Salomon de Bray wrote "Architectura Moderna" which provided a biography and descriptions of buildings built by Hendrick de Keyser, one of the key Dutch architects of the period