PIERO della FRANCESCA (né en 1416, Borgo San Sepolcro, mort en 1492, Borgo San Sepolcro) découverte et preuve de la vraie Croix c. 1460 Fresco, 356 x 747 cm San Francesco, Arezzo C'est l'une des compositions les plus complexes et monumentales de Piero. L’artiste dépeint à gauche la découverte des trois croix dans un champ labouré, à l’extérieur des murs de la ville de Jérusalem, tandis qu’à droite, dans une rue de la ville, est la preuve de la vraie Croix. Son grand génie qui lui permet de puiser l'inspiration dans le monde simple de la campagne, de l'atmosphère raffinée de courtoisie, comme

• Contributeur: Carlo Bollo / Alamy Banque D'Images
• ID de l’image: 2Y178PR
• Taille du fichier: 20,1 MB (1 MB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 3900 x 1801 px | 33 x 15,2 cm | 13 x 6 inches | 300dpi
• Date de la prise de vue: 5 septembre 2024

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Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.

PIERO della FRANCESCA (b. 1416, Borgo San Sepolcro, d. 1492, Borgo San Sepolcro) Discovery and Proof of the True Cross c. 1460 Fresco, 356 x 747 cm San Francesco, Arezzo This is one of Piero's most complex and monumental compositions. The artist depicts on the left the discovery of the three crosses in a ploughed field, outside the walls of the city of Jerusalem, while on the right, taking place in a street in the city, is the Proof of the True Cross. His great genius which enables him to draw inspiration from the simple world of the countryside, from the sophisticated courtly atmosphere, as well as from the urban structure of cities like Florence or Arezzo, reaches in this fresco the height of its visual variety. The scene on the left is portrayed as a scene of work in the fields, and his interpretation of man's labours as act of epic heroism is further emphasized by the figures' solemn gestures, immobilized in their ritual toil. At the end of the hills, bathed in a soft afternoon light, Piero has depicted the city of Jerusalem. It is in fact one of the most unforgettable views of Arezzo, enclosed by its walls, and embellished by its varied coloured buildings, from stone grey to brick red. This sense of colour, which enabled Piero to convey the different textures of materials, with his use of different tonalities intended to distinguish between seasons and times of day, reaches its height in these frescoes in Arezzo, confirming the break away from contemporary Florentine painting. To the right, below the temple to Minerve, whose facade in marble of various colours is so similar to buildings designed by Alberti, Empress Helena and her retinue stand around the stretcher where the dead youth lies; suddenly, touched by the Sacred Wood, he is resurrected. The sloping Cross, the foreshortened bust of the youth with his barely visible profile, the semi-circle created by the Helena's ladies-in-waiting, and even the shadows projecting on the ground - every single eleme

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