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 :. | legend of the true cross | St.Michael 02 | Die Konigin von Saba betet das Kreuzesholz and Ausschnitt | The christening of Christ | Nativity |
Related Artists:
Durrie George Henry
American Painter b.1820 d.1863 Durrie and his older brother John (1818-98) studied sporadically from 1839 to 1841 with the portrait painter Nathaniel Jocelyn. From 1840 to 1842 he was an itinerant painter in Connecticut and New Jersey, finally settling permanently in New Haven. He produced c. 300 paintings, of which the earliest were portraits (e.g. Self-portrait, 1839; Shelburne, VT, Mus.); by the early 1850s he had begun to paint the rural genre scenes and winter landscapes of New England that are considered his finest achievement. His landscapes, for example A Christmas Party (1852; Tulsa, OK, Gilcrease Inst. Amer. Hist. & A.), are characterized by the use of pale though cheerful colours and by the repeated use of certain motifs: an isolated farmhouse, a road placed diagonally leading the eye into the composition, and a hill (usually the West or East Rocks, New Haven) in the distance. By the late 1850s Durrie's reputation had started to grow, and he was exhibiting at prestigious institutions, such as the National Academy of Design. In 1861 the firm of Currier & Ives helped popularize his work by publishing prints of two of his winter landscapes, New England Winter Scene (1858; Mr and Mrs Peter Frelinghuysen Carleton priv. col.) and the Farmyard in Winter.
Isaac Grunewald
Swedish, 1889-1946,was a Swedish-Jewish Expressionist painter born in Stockholm. Having studied at a Swedish art school, at age nineteen Gr??newald travelled to Paris to study under Henri Matisse. In 1909 he gained recognition in his homeland when he exhibited his work at Halldins konsthandel. He met Fauvist painter Sigrid Hjert??n, who had studied at the College of Crafts and Design in Stockholm, and encouraged her to return with him to study in Paris. Married in 1911, they became part of a group of Scandinavian artists known as "De Unga" (The Young Ones). The Crane (1915) by Isaac GrunewaldGrenewald and Hjerten regularly exhibited together at home and abroad and art historians now often cite them as being responsible for introducing modernism to Sweden. At a time in history when anti-Semitism was widespread and women in art were frowned upon, although widely known they were never fully accepted by the artistic community of the day and their works were often the subject of ridicule. Partly as a result of this, Isaac Grunewald had to supplement his income creating stage designs for the Royal Dramatic Theatre and the Royal Swedish Opera. He decorated the walls and ceiling of an auditorium (since renamed Grunewald Hall) at the Stockholm Concert Hall, site of the Nobel Prize ceremony, and the walls of the Matchstick Palace. The author of numerous essays on art, with his 1918 exhibit at Stockholm's Liljevalchs Konsthall Isaac Grunewald published his manifesto on Expressionism and opened his own art school. During the Second World War Grunewald worked at the renowned Rorstrand porcelain factory. His wife Sigrid Hjerten suffered from lifelong mental health problems frequently evidenced by anxiety and paranoia that resulted in her being hospitalized for extended periods in the 1930s. During the marriage the couple were frequently apart from each other for long periods and they separated permanently in 1937 and soon divorced. Isaac Grunewald remarried and in 1946 both he and his second wife were killed in an airplane crash. He is buried in Stockholm's Norra begravningsplatsen ("Northern Cemetery"). His 1912 self-portrait and his 1915 painting "The Singing Tree" appeared on Swedish postage stamps. Today, institutions such as the Arken Museum of Modern Art in Ishoj, Denmark rank Grunewald and Hjerten among the 20th Century's most important Scandinavian artists.
george moore
(1873 C 1958), G.E. Moore, British philosopher