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      Resurrection

      Piero della Francesca

      An Early Renaissance master known for The History of the True Cross. Discover his geometric precision and serene beauty today.

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      Hand-painted oil on canvas in your size and frame, made to order by our artists. ( Switch to Print Switch to Digital Image)

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      Total Price

      $ 269

      Resurrection

      Reproduction Medium

      Reproduction Size

      -

      Total Price

      $ 269

      Quick Facts

      • Title: The Resurrection
      • Year: 1463
      • Movement: Early Renaissance
      • Influences: Masaccio
      • Artistic style: Humanism
      • Location: Pinacoteca Comunale, Sansepolcro

      Art Quiz

      There is only one correct answer for each question.

      Question 1:
      What is the primary subject matter of Piero Della Francesca’s ‘Resurrection’?
      Question 2:
      In what city is Piero Della Francesca’s ‘Resurrection’ housed?
      Question 3:
      What artistic technique did Piero Della Francesca employ to create a sense of depth and realism in his painting?
      Question 4:
      ‘Resurrection’ is considered a pivotal work within the Renaissance art movement because it exemplifies:
      Question 5:
      Approximately when was Piero Della Francesca commissioned to paint ‘Resurrection’?

      Piero della Francesca’s Resurrection

      Piero della Francesca’s ‘Resurrection,’ housed in the Pinacoteca Comunale of Sansepolcro, Italy, stands as an unparalleled achievement of Renaissance art—a monumental fresco that transcends mere depiction to embody profound spiritual contemplation. Completed around 1463 for the Civic Museum of Sansepolcro, it's a testament not only to Piero’s artistic prowess but also to his unwavering devotion to humanist ideals and mathematical precision.

      The Composition and Symbolism

      Measuring an impressive 225 x 200 cm, ‘Resurrection’ dominates its space with a deliberate grandeur. At the center stands Jesus Christ, portrayed in a posture that speaks volumes about his triumph over death—his right foot forward, symbolizing ascension. He holds aloft the cross, a universally recognized emblem of sacrifice and redemption, anchoring the scene's narrative core.

      • The Figures: Surrounding Christ are four figures: three men and one woman. The man on Jesus’s left kneels in reverence, while the man on his right sits down, representing humanity’s response to divine grace.
      • The Trees: Two trees flank the scene—one barren and aged on the right, symbolizing mortality; the other vibrant and flourishing on the left, embodying eternal life. This juxtaposition underscores the central theme of regeneration.
      • Perspective: Piero della Francesca’s mastery of linear perspective is breathtaking. The vanishing point located at the base of the sarcophagus creates an illusionistic depth that draws viewers into the scene, mirroring the spiritual journey toward enlightenment.

      Artistic Significance

      ‘Resurrection’ exemplifies the Renaissance preoccupation with realism and humanism—a departure from medieval artistic conventions. Piero skillfully captures the physicality of his subjects while simultaneously conveying an atmosphere of serene solemnity. The painting's stillness is punctuated by subtle gestures that communicate emotion without resorting to dramatic expression.

      Moreover, it reflects the influence of classical ideals, particularly those championed by Leon Battista Alberti—a figure who profoundly shaped Piero’s artistic vision. Like Masaccio’s frescoes in Santa Maria del Carmine, ‘Resurrection’ utilizes geometric forms and mathematical ratios to achieve visual harmony and convey a sense of cosmic order.

      Context in Art History

      Piero della Francesca's work emerged during a pivotal moment in European art history—the revival of interest in Greco-Roman culture. Artists like Piero drew inspiration from ancient sculptures and architectural designs, striving to emulate their grandeur and elegance. The use of perspective was a revolutionary innovation that transformed painting technique and profoundly impacted artistic representation.

      ‘Resurrection’ stands as a beacon of Renaissance humanism—a celebration of human dignity and intellect alongside spiritual contemplation. Its enduring appeal lies in its ability to communicate timeless truths about faith, hope, and the promise of eternal life.

      Relevance Today

      Even centuries after its creation, ‘Resurrection’ continues to captivate audiences worldwide. Its masterful composition, evocative symbolism, and profound emotional resonance resonate deeply with viewers who appreciate art's capacity for inspiring wonder and fostering contemplation. It serves as a poignant reminder of the enduring power of artistic expression.

      For those eager to delve deeper into Piero della Francesca’s oeuvre, reproductions of ‘The Resurrection’ and ‘9. Exaltation of the Cross (detail)’ are available on TopImpressionists.com. Explore further insights into Renaissance art and its philosophical undercurrents by visiting Galleria Nazionale delle Marche (Urbino, Italy) – A Haven of Renaissance Masterpieces and Wikipedia: Western painting.

      Questions & Answers

      What are the format and size of "Resurrection"?

      "Resurrection" by Piero della Francesca is proportioned as a square work of 225 x 200 cm.

      Toward which tone does "Resurrection" lean?

      "Resurrection" leans toward an ochre to sepia tone.

      What technique and size is the original "Resurrection" by Piero della Francesca?

      "Resurrection" was made in acrylic on canvas and measures 225 x 200 cm in its original form.


      Artist Biography

      The geometry of a quiet life

      In the small, sun-drenched town of Sansepolcro, Piero di Benedetto de’ Franceschi lived a life shaped by the precise lines of his surroundings. His father worked with leather and wool, a trade that required a steady hand and an eye for detail. This early environment, far from the crowded workshops of larger cities, provided a foundation of stillness. He learned to see the world through the lens of order. Around 1439, he moved toward Florence, where the air was thick with new ways of seeing. There, he worked alongside Domenico Veneziano and studied the works of Masaccio in the Brancacci Chapel. He did not simply look at these paintings; he measured them. He took the innovations of Brunelleschi and broke them down into mathematical truths.

      His hands moved between the brush and the compass. To him, a figure was as much a product of geometry as it was of anatomy. This way of working meant that light did not just fall upon a surface; it defined the volume of every limb and stone. He understood how a single vanishing point could pull a viewer into a deep, constructed space. His mind occupied the space between art and science, treating the canvas as a field for mathematical exploration.

      The weight of the fresco

      Much of his work remains fixed to the walls of churches in Tuscany. In the Basilica of San Francesco in Arezzo, he spent years working on the cycle of frescoes known as The History of the True Cross. These scenes are not hurried. Each figure possesses a heavy, quiet dignity. He used light and shadow to give weight to the characters, making them feel as solid as the architecture surrounding them. In other works, like the Baptism of Christ, he used a restrained palette to create an atmosphere of clarity. The colors are not loud, yet they possess a luminous quality that seems to come from within the figures themselves.

      His approach to composition relied on strict principles:

      • The use of linear perspective to create measurable depth.
      • A focus on balanced, symmetrical arrangements.
      • The application of geometric forms to human anatomy.
      • The use of light to define physical volume and mass.

      In the Montefeltro Altarpiece, his skill with oil painting allowed for a meticulous rendering of detail in the portraits of Federico da Montefeltro and Battista Sforza. He captured the texture of skin and the weight of fabric with a scientific precision. Even in his more recent works, such as The Nativity, he placed sacred scenes within a recognizable landscape, using the hills and rivers of the Tuscan countryside to ground the divine in the earthly.

      A legacy of measurement

      Piero was also a writer, documenting his findings in De Prospectiva Pingendi. This treatise on perspective painting shows that his interest in math was not secondary to his art; it was the core of it. He wrote about how to use geometry to represent the three-dimensional world on a flat surface. His work bridged the gap between the older, more decorative Gothic traditions and the new, rational Renaissance style. He sought beauty through proportion and order.

      He died in 1492, leaving behind a body of work that influenced those who followed, including Leonardo da Vinci and Raphael. They looked to his mastery of light and his ability to organize space with mathematical certainty. His paintings remain windows into a world where the spiritual and the rational exist in a state of permanent, quiet balance.

      Piero della Francesca

      Piero della Francesca

      1415 - 1492 , Italy

      Quick Facts

      • Artistic Movement Or Style: Early Renaissance
      • Artists Or Movements Influenced By This Artist:
        • Leonardo da Vinci
        • Raphael
      • Artists Who Influenced This Artist:
        • Masaccio
        • Brunelleschi
      • Full Name: Piero di Benedetto de' Franceschi
      • Nationality: Italian
      • Notable Artworks:
        • The History of the True Cross
        • Montefeltro Altarpiece
        • Baptism of Christ
        • The Resurrection
        • The Nativity
      • Place Of Birth: San Sepolcro, Italy
      • Date Of Birth: 1415
      • Date Of Death: 1492
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