The Resurrection

Ellie Schneider
Piero della Francesca, The Resurrection, 1463-1465
By ELLIE SCHNEIDER

"History: a subject which must not on any account be neglected by one who aspires true cultivation" - Leonardo Bruni

Piero della Francesca grew up in Sansepolcro, Tuscany. Sansepolcro means "Holy Sepulcher," alluding to the Church of the Holy Sepulcher in Jerusalem. It is believed that Jesus was both buried and resurrected at the Church of the Holy Sepulcher, so it is quite fitting that Francesca painted this painting of Jesus' resurrection in Francesca's hometown, which is named after the site at which the resurrection occurred. This painting was no coincidence. Francesca knew his history and created the perfect piece to be a symbol for his town. 

When looking at the painting and thinking about Bruni's quote, we must think about Jesus and his teachings. One of the main teachings of Jesus is to spread peace and love. This belief dates back to 4 BCE when he was born and continues to influence people well after his death around 30 ACE. Today, Christians study the history of Jesus' life and teachings. His beliefs from 2,000 years ago still influence people today. This shows how sometimes history is not neglected, but instead taught  thoroughly by people who aspire true cultivation by aspiring to be a "good Christian." 

When looking the painting itself, the composition is well balanced, with Jesus in the center of the painting and two guards falling on either side of the center line. Jesus' body splits the painting. On the left side everything is barren, especially when you look at the trees. On the contrary, the other side has full trees. For this painting we can think about more than one definition of cultivation. We already discussed cultivation as "the process of trying to acquire or develop a skill," but now we look at cultivation as "the action of cultivating land." Only the right side of this painting appears viable for planting crops. Not everything, even with the presence of Jesus, can be cultivated. Similarly, we can study and fill our finds with knowledge, but sometimes certain skills are hard to cultivate.

Overall, I like this painting because it is more complex than it appears at first glance. Like I mentioned above, the background is split my Jesus' body. Also, Jesus' is depicted as strong, not weak as the circumstances may have suggested. While he is standing tall, the guards are all on the ground asleep. I like the color of the guards outfits; the pop of color is refreshing in the desolate painting. Also, I agree with Bruni that history is an important subject to learn about, which is why I enjoy looking at paintings like this one, which teach me about subject matters I am not knowledgable on in a time period I have not studied in depth.    

  • 8:20 AM

Battista Sforza and Federico da Montefeltro

Battista Sforza and Federico da Montefeltro
Piero della Francesca, Battista Sforza and Federico da Montefeltro, 1472
By NATALIE BEYER

First off, the man of this portrait has a Wicked-Witch-of-The-West nose and the woman is so white that she could be a ghost. However, a fun story attached to why they are facing inwards has to do with the Federico losing his right eye and breaking his nose in a tournament. So, the Duke and his wife decided that they should face different ways to mask his hideous misfortunes. Painted in front of a vast landscape of water and mountains, Federico, and his wife, Battista, wanted to show just how much power and wealth they had while also creating a piece that could be timeless. 

As Niccolo Machiavelli said, "lLove is held by a chain of obligation which, men being selfish, is broken whenever it serves their purpose." You may be thinking, how this quote could possibly apply to this painting? But I'm here to tell you that I found a way. When I first saw this paining, I thought that the man and woman were angry with each other. The Duke's face and the wife's overall unamused expression made me think that they did not want anything to do with each other. I felt as though the Duke was about to break things off with his wife.

Much like my art history education thus far, I came to conclusions far too quickly. Entering art history, I was going out of my comfort zone by taking the class and thought I would not enjoy it. However, I am glad that I took this risk and am excited to learn more about art. With Battista Sforza and Federico de Montefeltro, I judged their relationship instantly before really knowing their backstory.
  • 7:00 AM

Brera Alterpiece and Baxandall

Brera Altarpiece
Piero Della Francesca, Brera Altarpiece, 1472

At first glace Piero Della Francesca's Brera Alterpiece of Madonna and Child looks like an awkward family portrait including the Virgin Mary with a very large lap. For some reason there is also an egg on a string above Mary and Baby Jesus.

While reading Michael Baxandall's Painting and Experience in Fifteenth Century Italy, we learn to look at the painting with a more critical eye. Baxandall taught us to look at the stance of a the figures and where they are placed. The Angels and Saints are focused around Mary and Jesus putting the focus on the center of the painting. It is thought that St. John the Baptist and St. Francis are in the group symbolizing a momentous occasion. He would also say look at the colors. Mary is wearing her typical blue robe,and Jesus has a necklace of red beads with the foreshadowing and symbol of blood.

The egg above is thought to be a round ostrich egg. This could be symbolizing the fertility and creation. Although I enjoy looking at this painting I cannot get over how awkward and uncomfortable the people look. How can Mary balance Jesus like that? Why is the man at the bottom in a full ninty degree angle? And of course, why is there and egg on a string?
  • 7:00 AM

Flagellation and Baxandall

Arman Javaheri
 Piero Della Franchesca's Flagellation, 1449

As a 15th century Florentine painter, you didn't just paint, you practically did it all. Going through intensive schooling, painters such as Piero Della Francesca, had a pretty firm grip on mathematics, as the subject was stressed for years, The use of mathematics and geometry in painting at the time became a show of skill and intelligence, and allowed artists to boast of their structural proportions. As the population became more educated in math, the artwork had to follow. Francesca became aware of this and upped his geometric game to the point that almost every aspect of his paintings held some geometric significance. This became Francesca's challenge to the public as he invited viewers to test his accuracy.

Francesca's Flagellation makes no exception as it depicts accurate and attractive architecture. Although Francesca may to have gotten the order of importance wrong as it seems to be the three men in front first, then the pillars and architectural structures and,oh yeah, Jesus is being whipped in the back somewhere. Regardless of this, nicely done on those pillars, because after all that's what counts, right?
  • 7:00 AM

The Baptism of Christ

1453
Piero Della Francesca, The Baptism of Christ, 1453

In The Baptism of Christ, Piero Della Francesca once again shows his amazing talent for perspective. In this painting, the river Jordan flows towards the viewer, while John pours the water over Jesus's head. This painting is a perfect example of Piero's more traditionalist paintings, and yet he manages to perfectly blend classical Italian monumental-ism with progressive mathematical designs. He seems to pay special attention to the water at the feet of John and Jesus. The water swirls around their feet, reflecting the sky above and the mud below in a clever manipulation of light. He makes use of a vanishing point just under Jesus's knees, demonstrating his mathematical knowledge.

Francesca was meant to be a merchant, and so he began learning math when he was 10. However, he had a clear talent for the visual arts, and when he was 15 it was decided that he would learn to paint. Rather than quitting his math studies, he incorporated them into his paintings, and during his life he published many papers on perspective and use of light. His ability to mix traditional style with his own progressive techniques really shows through with this painting. This was after his trip to Florence, and so there are elements of Fra Angelico's works in his style. This painting was done at the high point of Piero's life, which is probably why it's my personal favorite. I love the emotive faces, the dove hovering over Jesus, the way the water reflects the sky, and the perfect proportions in this painting.


  • 7:00 AM

Flagellation

Flagellation
Piero Della Francesca, Flagellation, 1448

Piero Della Francesca never got the credit he deserved. Much of his work was either destroyed or lost. After his death, many of his papers were stolen and published under the name of his student, Fra Luca dal Borgo. Yet, through the work that survives, it is clear he was a genius. Flagellation, painted in 1448, incorporated Piero's mathematical expertise in his use of perspective. His use of vanishing points to show distance was a totally new, innovative concept. While other artists were painting flat, stage-like artwork, Piero managed to add perspective and detail while still maintaining a calm monumental style,

This version of Flagellation is unique, mainly due to the position of Jesus. While he is front and center in the other versions, Piero paints him into the background. The subject of the painting seems to be the three men in the front, not Jesus. Art historians differ on their interpretations of this. Some say the front three are the duke or Urbino and his assassins, while others claim that it's the Byzantines and the Ottoman Turks. I personally think its meaning is religious, but it widens the focus of the painting to include the bystanders who sat passive while Christ suffered. If it looks like Jesus, it's probably Jesus.

  • 7:00 AM

Brera Altarpiece

Brera Altarpiece
Piero della Franchesca, Brera Altarpiece, 1472
Painted by Piero della Franchesca for Lord Frederico da Montefeltro, a dedicated patron of Italian artists, the Brera Altarpiece shows an assembled half-circle of various saints and angels gathered around the Madonna and Child. In the foreground, an armored Montefeltro is kneeling before Jesus. Because of a dueling accident, Montefeltro had a scar across the right side of his face, and part of the bridge of his nose was missing - meaning he had to be portrayed in profile, from his good side.

Although the faces and proportions of the assembled saints may be questionable, and baby Jesus looks about to roll off Mary's lap, above them stands a strikingly gorgeous barreled arch in perspective, a seashell-like dome, and an egg dangling from its tip, a symbol of the creation. Various theories about this enigmatic symbol link the seashell to depictions of Venus or to a symbol of the immaculate conception (since oysters create pearls without male intervention). The egg may also represent a hope of regeneration or simply be a reference to the ostrich in the Montefeltro crest. This painting is not unique in showing an egg hanging from the ceiling, and indeed real ostrich eggs were sometimes hung in churches as curiosities and reminders of God's grace.

When rediscovered in the 19th century, the paint had darkened almost out of recognition; modern reconstruction allowed the intricate details of the clothing, the reflections on Montefeltro's armor, and the Oriental rug beneath Mary's throne to return to focus. The painting, some scholars suggest, was commissioned to celebrate the birth of Montefeltro's son Guidobaldo. Whatever its original purpose or the true symbolism of the enigmatic egg might be, this altarpiece holds layers of symbolism and intricate details not obvious on a first viewing.

  • 7:00 AM

The Dream of St. Jerome

1455


Piero Della Francesca, The Dream of St. Jerome, 1455         
The Flagellation is a rather endearing piece of artwork although - let’s not kid ourselves - its not really The Flagellation, rather it's The Dream of St. Jerome by Piero Della Francesca painted in 1455. For many years the panel was thought to be the moment in time where Christ is being flogged under Pontius Pilate, however in recent years it has been discovered that is not the case.

The dream consists of a young Jerome who is brought in front of a blinding and all encompassing light, and can not bring himself to look for the source. A judge sits in front of him and berates him with questions about his faith and devotion to God. Jerome answers he is a Christian, to which the judge corrects him and says he is a Ciceronian. Between his whippings, Jerome comes to the realization that his previous notions about the ancient Greek and Roman literary figures are distorted and ultimately destructive. Upon promising never to read another ancient text from his previous idols, he awakes unharmed but forever changed.

Leonardo Bruni, a Florentine humanist, talks about the importance of studying ancient Greek and Roman texts to supplement current teachings. In conjunction with Christian studies, he suggests that one also reads these early teachings. However, I argue that Francesca is ultimately trying to fight against the notion of incorporating such literature. Jerome basks in a marvelous light while he pays for his wrong doings and is shown the errors of his ways. The men on the side stand in a scholarly circle clearly unaware or indifferent to the torturous scene behind them. Francesca wants the viewer to understand that the revival of knowledge is enlightening only if that knowledge is derived from Christian lessons.

  • 7:00 AM

Resurrection

Piero Della Francesca

Piero Della Francesca, Resurrection, 1463-65
Piero della Francesca’s Resurrection depicts Jesus emerging from his tomb. Della Francesca’s rather unremarkable work does have a few interesting features. Firstly, he depicts Jesus as “athletic,” in the words of Aldous Huxley. His abs stand out sharply against the rest of his body. Everyone seems to disagree with me, and I admit that it does not fit with the tone of the story overall, but I really think that Jesus’ expression in this painting betrays a sort of sadness. His face is at best emotionless, but his eyes stare past the viewer, forlorn. Francesca uses more than Jesus’ eyes to convey a sense of melancholy in the painting. The tree on the right behind Jesus is verdant with leaves, symbolizing Jesus’ resurrection, and in stark contrast to those on the left. However, the dismal grays of the background rob the painting of its joy and leave me wondering what kind of emotional state Francesca was in when he painted this fresco in the meeting hall of Sansepulcro.

On a weird note, the sleeping man with the spear has no legs.

I really struggled to enjoy this painting. While many appreciate this painting as a masterpiece, I cannot seem to make a connection with. I do not find Francesca’s craftsmanship particularly remarkable. Perhaps the only aspect of this painting I enjoy is the conflict in emotions we see in Jesus’ expression. Francesca seems perhaps to express himself beyond a strict interpretation of the events of The Bible.

  • 7:00 AM