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The Christ, 1442 (National Gallery, London)]]
Piero della Francesca (probably Borgo San Sepolcro, Tuscany, c. 1420 - San Sepolcro, October 12, 1492) was an Italian artist of the Early Renaissance, whose work was characterized by its serene humanism & its mathematical form, particularly in relation to perspective and foreshortening. Late around life he wrote the treatise, De prospectiva pingendi, on the system of mathematical foreshortening applied to any object, whether it be in the cube or even mortal head. He is considered one of a greatest creative person of the Renaissance. Virtually all of his life was spent inside Arezzo and his hometown, Borgo San Sepolcro in Tuscany. He could use learned a rudiments of painting from either one of many Sienese artists working in San Sepolcro in the period of his youth. By 1439 Piero was working by owning Domenico Veneziano on frescoes for the hospital of Santa Maria Nuova in Florence. He likewise worked inside Rimini, Arezzo, Ferrara, & Rome.
His deep interest in a theoretical survey of perspective & geometry & his pondered, pondering approach to his paintings come apparent altogether his act, including the panels of the S. Agostino reredos.
Among his adherent: Melozzo da Forlì.
His act includes a Madonna della Misericordia (c.1445), The History of the True Cross (1452-66), frescoed in the church of San Francesco, Arezzo, The Flagellation (c.1460), the Montefeltro Altarpiece (1465)and opposite portraits of Federico da Montefeltro and Battista Sforza, the Duke & Duchess of Urbino (c.1472) and of Sigismondo Pandolfo Malatesta. His portraits within profile require their inspiration from either Roman coins.
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