piero

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{i} Piero della Francesca (~1420?-1492), early Renaissance Italian painter
Jacopo di Piero di Angelo Piero di Giovanni Piero della Francesca Piero di Cosimo Piero di Lorenzo Pollaiuolo Antonio and Piero del Antonio and Piero di Jacopo d'Antonio Benci

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Piero della Francesca
born 1420, Sansepolcro?, Republic of Florence died Oct. 12, 1492, Sansepolcro Italian painter. Son of a prosperous tanner and wool merchant, he became known for his serene, disciplined exploration of perspective. His fresco cycle for San Francesco at Arezzo, The Legend of the True Cross (1450s), exemplifies his simplicity and clarity of structure, controlled use of perspective, and aura of serenity. His famous diptych portrait of his patrons, Count Federico da Montefeltro and his wife ( 1470), is known for its unidealized depiction of their features and the use of landscape in the background. Though he had little influence on his contemporaries, Piero's important scientific and poetic contributions to Renaissance painting are now well recognized. Also a writer, he produced theoretical treatises on geometry and perspective
Piero della Francesca
{i} Piero (~1420?-1492), early Renaissance Italian painter
Piero di Cosimo
orig. Piero di Lorenzo born 1462, Florence, Republic of Florence died 1521, Florence Italian painter. His name derives from that of his master, Cosimo Rosselli, whom he assisted on frescoes for the Sistine Chapel. His later mythological paintings exhibit a bizarre Romantic style. Many are filled with fantastic hybrid human-animal forms engaging in revels (The Discovery of Honey, 1500) or fights (Battle of the Centaurs and the Lapiths, 1500). His art reflects his eccentric personality. He belonged to no school of painting but borrowed from many artists, including Sandro Botticelli and Leonardo da Vinci
Antonio and Piero del Pollaiuolo
orig. Antonio and Piero di Jacopo d'Antonio Benci born Jan. 17, 1432/33, Florence, Republic of Florence died Feb. 4, 1498, Rome born 1443, Florence died 1496, Rome Italian sculptors, painters, engravers, and goldsmiths. Antonio probably trained in goldsmithing and metalworking with Lorenzo Ghiberti, while Piero may have studied painting with Andrea del Castagno. The brothers collaborated consistently after 1460, producing their works under a combined signature, and their individual contributions are hard to determine. Antonio is recognized as a superb draftsman and was among the first to practice anatomical dissection in the study of the human form; Piero's individual work is less artistically significant. In Florence they created an altarpiece in San Miniato al Monte and The Martyrdom of St. Sebastian (1475) in the Pucci Chapel of the Church of the Santissima Annunziata. In Rome their works included the tombs of Popes Sixtus IV and Innocent VIII. Antonio's famous Battle of Nudes is one of the largest and most important Italian engravings of the 15th century
piero
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