透视是弗朗切斯卡一生深研的课题,他通过透视所达到的视错觉效果 以在殿堂的墙壁上摹写所见的世界,还原真实的历史,图绘传说的故事。也许是所信之本体,甚或经时间长久的凝积与隔阂,那些颗粒斑斑的画面人物总给观者以超越现实的疏离感,有种明显地高于当下之众的东西。他的典雅(色彩)与严谨(造型)是可见的,不必多言,也许这就是给观者真实却又超越的原因。时代之所信必然会带入时人所在的各处,艺术自然不会例外,因此画面那种宗教庄严的仪式感仿若在会堂里。却又分明隐含着一种剧场感,像是在剧院里,要演给人看。
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从皮耶罗几何学和透视学的著述中可以看出,他在科学方面的造诣不亚于同时代的任何人,或许亦不逊于任何时代里的任何人。他的全部作品——充满透视学知识——表明了这一点。
——瓦萨里《著名画家、雕塑家、建筑家传》
Madonna and Child with Saints
248 × 170 cm
Tempera on panel
Pinacoteca di Brera, Italy
~1472-74
Madonna and Child with Saints(detail)
Madonna and Child with Saints(detail)
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Portraits of the Duke and Duchess of Urbino
Tempera on panel
47 × 66 cm
Urfield Museum, Italy
~1473
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Augustinian Nun, Augustinian Monk
Tempera on panel
~1426
38.8 × 28 cm
American National Gallery
~1455-1460
31.4 x 25.4 cm
41 x 27.5 cm
Museo Nacional Thyssen-Bornemisza, Madrid
~1483
44.5 × 34.5 cm
Paris, Musée du Louvre
~1450-51
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皮耶罗对艺术一往情深,十分重视透视学,他对欧几里得 深有研究,因而比任何一个几何学家更懂得规则的物体的曲线,我们所有关于这些问题的最清楚的阐释,都来自于他。
——瓦萨里《著名画家、雕塑家、建筑家传》
168 × 116 cm
National Gallery, London
~1448-50
Tempera on panel
225 x 200 cm
Museo Civico,Sansepolcro,Italy
~ 1459
The Resurrection (Detail)
The Resurrections (Detail)
The Resurrection (Detail)
The Resurrection (Detail)
The Resurrection (Detail)
The Resurrections (Detail)
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要知道,绘画不是别的什么东西,而是许多所见之物和许多所见之面的表达,这些所见之物和这些所见之面要在有限的平面上被缩小或放大,而且要缩小或放大到那种程度——使它们在不同角度下被眼睛所看见的那些真实物体和那些真实的面一模一样。
——弗朗切斯卡《论绘画透视》
General view of the Cappella
Maggiore in San Francesco,Arezzo
General view of the Cappella
Exaltation of the Cross
Tempera on panel
Maggiore in San Francesco,Arezzo
~1460s
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Tempera on panel
390 x 747 cm
Maggiore in San Francesco,Arezzo
~1460s
Death of Adam(detail)
Death of Adam(detail)
Death of Adam(detail)
Death of Adam(detail)
Death of Adam(detail)
Death of Adam(detail)
Death of Adam(detail)
Tempera on panel
747 x 356 cm
Maggiore in San Francesco,Arezzo
~1460s
Procession of the Queen of Sheba
And Meeting between the Queen of Sheba and King Solomon
Tempera on panel
336 × 747cm
Maggiore in San Francesco,Arezzo
~1460s
Procession of the Queen of Sheba(detail)
Procession of the Queen of Sheba(detail)
Procession of the Queen of Sheba(detail)
Procession of the Queen of Sheba(detail)
Procession of the Queen of Sheba(detail)
Meeting between the Queen of Sheba and King Solomon(detail)
Meeting between the Queen of Sheba and King Solomon(detail)
Meeting between the Queen of Sheba and King Solomon(detail)
Meeting between the Queen of Sheba and King Solomon(detail)
Meeting between the Queen of Sheba and King Solomon(detail)
battle between heraclius and chosroes
Tempera on panel
747 x 329 cm
Maggiore in San Francesco,Arezzo
~1460s
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
Tempera on panel
764 x 322 cm
Maggiore in San Francesco,Arezzo
~1458
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
Giovanni di Piamonte, The Prophet Isaiah
Tempera on panel
Maggiore in San Francesco,Arezzo
~1455
Giovanni di Piamonte, The Prophet Isaiah(detail)
The Prophet Jeremiah
Tempera on panel
Maggiore in San Francesco,Arezzo
1455
The Prophet Jeremiah(detail)
Torture of the Jew
193 x 356 cm
Tempera on panel
Maggiore in San Francesco,Arezzo
~1455
Torture of the Jew(detail)
Torture of the Jew(detail)
Torture of the Jew(detail)
Torture of the Jew(detail)
burial of the wood
190 x 356 cm
Tempera on panel
Maggiore in San Francesco,Arezzo
~1455
burial of the wood(detail)
burial of the wood(detail)
burial of the wood(detail)
Tempera on panel
193 x 329 cm
Maggiore in San Francesco,Arezzo
~1455
Annunciation(detail)
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皮耶罗最精彩的他是的“夜”(《康斯坦丁大帝之梦》constantines dream),不论想象力还是艺术性。一个按透视法缩短的天使,头朝下飞去,把胜利的预兆带给康斯坦丁,后者正睡在一个大帐篷里,一名内侍和几名士兵在一旁守卫。在夜晚的黑暗中,他们依稀可辨,天使以自己的光照亮帐篷、士兵和周围的一切。这幅画是精心之作,因为皮耶罗让我们知道了在这样的黑暗中,把事物如实地、依据真实的模特儿描绘是多么的重要。他做得很成功,致使后人可以跟随他而在我们的时代中获得他艺术的那种无上的完美。
——瓦萨里《著名画家、雕塑家、建筑家传》
constantines dream
329 x 190 cm
Tempera on panel
Maggiore in San Francesco,Arezzo
~1455
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Four Saints
Maggiore in San Francesco,Arezzo
tempera on panel
~1460s
head of an angel
tempera on panel
Maggiore in San Francesco,Arezzo
~1460s
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——弗朗切斯卡《论正确的形体》
The Flagellation
Oil and tempera on panel
58.4 × 81.5 cm
Italy,Galleria Nazionale delle Marche Urbino
~1454 -1460
The Flagellation(detail)
The Flagellation(detail)
The Nativity
Tempera on panel
122.6 x 124.5 cm
The National Gallery, England
~1470
The Nativity (detail)
The Nativity (detail)
The Nativity (detail)
The Crucifixion
Tempera on panel
~1460s
Virgin and Child Enthroned with Four Angels
Tempera on panel
107.8 × 78.4 cm
Clark School of art, Massachusetts, USA
~1460-1470
Madonna and Child with Saints
53.5 x 61 cm
Tempera on panel
Italy,the ducal palace of urbino and national gallery of brands
~1470
Polyptych of the Misericordia
Oil and tempera on panel
323 x 273 cm
Sansepolcro , Museo Civico
~1445-62
Polyptych of the Misericordia
(detail of the Madonna of Mercy)
Oil and tempera on panel
134 x 91 cm
Sansepolcro , Museo Civico
~1445-62
Polyptych of the Misericordia
(detail of the Madonna of Mercy)
Polyptych of the Misericordia
(detail of The Crucifixion)
Oil and tempera on panel
81 x 52 cm
Sansepolcro , Museo Civico
~1445-62
Polyptych of the Misericordia (detail of Saint Sebastian and Saint John the Baptist)
Oil and tempera on panel
108 x 90 cm
Sansepolcro , Museo Civico
~1445-62
Polyptych of the Misericordia (detail of Saint Sebastian and Saint John the Baptist)
Saint Sigismund and Sigismondo Malatesta
tempera on panel
257 x 345 cm
Rimini. San Francesco(Tempio Malatestiano)
Saint Sigismund and Sigismondo Malatesta (detail)
Penance of Saint Jerome
Tempera on panel
51 × 38 cm
Berlin, Gemaldegalerie Dahlem
~1450
Sant Jerome and a donor
Tempera on panel
40 x 42 cm
Venice, Gallerie dell' Accademia
saint Julian
Tempera on panel
105 x 130 cm
~1455-1460
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Saint Michael,Saint John the Evangelist,Saint Nicholas of Tolentino
oil and tempera on panel
133 × 59 cm x 3
The National Gallery, England
~1454-69
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皮耶罗·德拉·弗朗切斯卡(Piero della Francesca,约1415/1420-1492)来自托斯卡纳省,后来成为早期文艺复兴最著名的艺术家之一。弗朗切斯卡早年受到优良教育,生前享有盛誉,许多富商都到他那里订画,然而死后被人遗忘,直到20世纪才被人重新发现。他写了大量关于数学和透视法的文章,晚年写有论文《论绘画透视》和《论正确的形体》两篇。精准的线性透视法是其作品的主要特色,他在艺术实践中把完善的透视、严谨的形体比例与细腻和谐的色彩合而为一。他的许多作品都是花大量时间完成,背景刻画十分细致,光线清晰,空间距离感得到适当强调,构图匀称,他的风格对15世纪中叶的佛罗伦萨以及北意大利诸城有革命性的影响,推动了北部和中部意大利画派的发展。
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