After four centuries of almost complete neglect, Piero della Francesca is now one of the best known and best loved of all Renaissance painters - to such an extent that the route from one work to another has become the tourists' "Piero della Francesca Trail". Sir John Pope-Hennessy takes a fresh look at the facts of Piero's career and the significance of his paintings. A clear chronology establishes the probable sequence of his activities in Arezzo, Borgo San Sepolcro, Monterchi and Urbino. In assessing the greatness of Piero's art, we need to concentrate on the works themselves: their structure, their theoretical basis, their use of mathematical research and the visual sensibility that was peculiar to Piero's own psychology. Only then shall we see them for what they really are.
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SIR JOHN POPE-HENNESSY, one of the great art historians of the twentieth century and perhaps its greatest authority on Italian Renaissance art, was born in 1913. He served as Director of the Victoria and Albert Museum and Consultative Chairman of the Department of European Paintings at the Metropolitan Museum of Art. His many publications are now standard works of reference and include An Introduction to Italian Sculpture, Italian Gothic Sculpture, Italian Renaissance Sculpture, Italian High Renaissance and Baroque Sculpture and Cellini as well as many monographs and his masterwork, Donatello. Sir John died in 1995.
Art historian Pope-Hennessy was one of the world's foremost authorities on Italian Renaissance art. In 1993, two years before his death, he released this slim volume, which opens with the following sentiment: "There comes a point in life when the artists one has known cease to be objects of research and become friends." He offers here the life of della Francesca, along with a guide to his work buttressed with 52 color illustrations. As a bonus, this also includes Aldous Huxley's 1938 essay The Best Picture, which inspired Pope-Hennessy to study the artist. Gorgeous.
Copyright 2002 Reed Business Information, Inc.
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