PIERO della FRANCESCA (né en 1416, Borgo San Sepolcro, mort en 1492, Borgo San Sepolcro) Résurrection 1463-65 fresque et tempera, 225 x 200 cm Pinacothèque Comunale, Sansepolcro un des plus grands chefs-d'œuvre de Piero, peint pour sa ville natale, probablement juste avant son voyage à Rome en 1458. Cela illustre la capacité de Piero à utiliser des éléments iconographiques archaïques, appartenant au répertoire des images sacrées populaires, tout en les plaçant dans un contexte culturel et stylistique entièrement nouveau. Dans un cadre, formé sur les côtés par deux fausses colonnes de marbre, la composition est divisée en deux séparats

• Contributeur: Carlo Bollo / Alamy Banque D'Images
• ID de l’image: 2Y1799K
• Taille du fichier: 19,2 MB (1,2 MB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 2454 x 2730 px | 20,8 x 23,1 cm | 8,2 x 9,1 inches | 300dpi

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PIERO della FRANCESCA (b. 1416, Borgo San Sepolcro, d. 1492, Borgo San Sepolcro) Resurrection 1463-65 Mural in fresco and tempera, 225 x 200 cm Pinacoteca Comunale, Sansepolcro One of Piero's greatest masterpieces, painted for his native city, probably just before his journey to Rome in 1458. This exemplifies Piero's ability to use archaic iconographic elements, belonging to the repertory of popular sacred images, yet placing them in an entirely new cultural and stylistic context. Within a framework, formed at the sides by two fake marble columns, the composition is divided into two separate perspective zones. The lower area, where the artist has placed the sleeping guards, has a very low vanishing point. Alberti, in his theoretical writings, suggests that the vanishing point should be at the same level as the figures' eyes. By placing it on a lower level, Piero foreshortens his figures, thus making them more imposing in their monumental solidity. Above the figures of the sleeping sentries, Piero has placed the watchful Christ, no longer seen from below, but perfectly frontally. The resurrected Christ, portrayed with solid peasant features, is nonetheless a perfect representative of Piero's human ideal: concrete, restrained and hieratic as well. The splendid landscape also belongs to the repertory of popular sacred images: Piero has symbolically depicted it as half still immersed in the barenness of winter, and half already brought back to life - resurrected - by springtime. *** Keywords: ************* Author: PIERO della FRANCESCA Title: Resurrection Time-line: 1451-1500 School: Italian Form: painting Type: religious

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