The Cambridge Companion to Piero della Francesca (Cambridge Companions to the History of Art) by Jeryldene M. Wood |
by Carlo Ginzburg
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by Roberto Longhi
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Piero della Francesca: The Legend of the True Cross in the Church of San Francesco in Arezzo by Carlo Bertelli |
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Piero della Francesca was not only a great fifteenth-century painter but was also an accomplished mathematician. This book is the first full study of how these two activities were interrelated.
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Piero della Francesca, one of the greatest painters of the fifteenth century, was also an accomplished mathematician. This book, the first combined study of Piero's work as a mathematician and as a painter, explores the connections between these two activities and thus enhances our understanding of both his paintings and his writings. J. V. Field begins by describing Piero's education, family background, and training as a painter. The book then examines the strong sense of three-dimensional form shown in his art and the abstract solid geometry discussed in his writings. Field next considers Piero's treatise on perspective and paintings that examplify the prescriptions it provides and assesses the optical or pictorial "rules" Piero followed as a painter. Piero is identified as a figure of some intellectual weight, as a learned craftsman. The book concludes by considering the historical significance of the tradition to which he belonged and its connections with the Scientific Revolution.
Piero della Francesca was not only a great fifteenth-century painter but was also an accomplished mathematician. This book is the first full study of how these two activities were interrelated.
Product Description
Piero della Francesca, one of the greatest painters of the fifteenth century, was also an accomplished mathematician. This book, the first combined study of Piero's work as a mathematician and as a painter, explores the connections between these two activities and thus enhances our understanding of both his paintings and his writings. J. V. Field begins by describing Piero's education, family background, and training as a painter. The book then examines the strong sense of three-dimensional form shown in his art and the abstract solid geometry discussed in his writings. Field next considers Piero's treatise on perspective and paintings that examplify the prescriptions it provides and assesses the optical or pictorial "rules" Piero followed as a painter. Piero is identified as a figure of some intellectual weight, as a learned craftsman. The book concludes by considering the historical significance of the tradition to which he belonged and its connections with the Scientific Revolution.
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