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Collection:
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ADJUNCT MODULE B: ITALIAN ART
LocalCollection
ADJUNCT MODULE B: ITALIAN ART
Collection
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Preferred Title:
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Flagellation of Christ
Work_PrefTitle
Flagellation of Christ
Preferred Title
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Image View:
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Overall view without frame
Image_Title
Overall view without frame
Image View
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Creator:
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Piero della Francesca (Italian painter, ca. 1415-1492)
Agent_Display
Piero della Francesca (Italian painter, ca. 1415-1492)
Creator
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Location:
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repository: Galleria Nazionale delle Marche (Urbino, Marches, Italy)
Work_Location_Type_D isplay
repository: Galleria Nazionale delle Marche (Urbino, Marches, Italy)
Location
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Location Note:
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Palazzo Ducale di Urbino Piazza Rinascimento 13
Work_LocationNotes
Palazzo Ducale di Urbino Piazza Rinascimento 13
Location Note
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GPS:
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43.723333 12.637778
GPS
43.723333 12.637778
GPS
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Date:
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ca. 1455 (creation)
Work_DateDisplay
ca. 1455 (creation)
Date
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Cultural Context:
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Italian
Work_Culture
Italian
Cultural Context
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Style Period:
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Fifteenth century; Renaissance
Work_StylePeriodDisp lay
Fifteenth century; Renaissance
Style Period
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Work Type 1:
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panel painting
Work_Worktype1
panel painting
Work Type 1
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Classification:
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Paintings
Work_Classification
Paintings
Classification
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Material:
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tempera and oil paint on wood panel
Work_MaterialDisplay
tempera and oil paint on wood panel
Material
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Technique:
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painting and painting techniques
Work_Technique
painting and painting techniques
Technique
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Measurements:
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59 cm (height) x 82 cm (width)
Work_MeasurementDisp lay
59 cm (height) x 82 cm (width)
Measurements
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Subjects:
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architecture; New Testament; Federico, da Montefeltro, Duke of Urbino, 1422-1482; Jesus Christ; Passion of Christ; linear perspective
Work_Image_SubjectDi splay
architecture; New Testament; Federico, da Montefeltro, Duke of Urbino, 1422-1482; Jesus Christ; Passion of Christ; linear perspective
Subjects
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Description:
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The signed Flagellation is in a sense a summation of Piero’s artistic interests: a rigorous construction based on modular measurements, a conception of composition and istoria worthy of Alberti and the use of Classical figures and architecture, all depicted with his precise and extraordinary command of light. The figure of the man in Turkish dress, whose turban is described with the aid of minuscule pouncing and whose Classical drapery is lit by separate sources of light (the underside of his left hand catches the natural light in a manner reminiscent of Jan van Eyck), represents the summit of Piero’s art. From the 18th century, when the Flagellation was recorded in the sacristy of Urbino Cathedral, descriptions of this enigmatic panel have focused on the identity of the three figures on the right. These were once thought to portray members of the Montefeltro family or to allude to the assassination in 1444 of Oddantonio da Montefeltro by his half-brother Federigo da Montefeltro, later Duke of Urbino and an important patron of Piero. Uncertainty about the date of this picture (probably mid-1450s) and its destination has led to many interpretations. (Source: Grove Art Online; http://www.oxfordart online.com/)
Work_Description_Sou rce
The signed Flagellation is in a sense a summation of Piero’s artistic interests: a rigorous construction based on modular measurements, a conception of composition and istoria worthy of Alberti and the use of Classical figures and architecture, all depicted with his precise and extraordinary command of light. The figure of the man in Turkish dress, whose turban is described with the aid of minuscule pouncing and whose Classical drapery is lit by separate sources of light (the underside of his left hand catches the natural light in a manner reminiscent of Jan van Eyck), represents the summit of Piero’s art. From the 18th century, when the Flagellation was recorded in the sacristy of Urbino Cathedral, descriptions of this enigmatic panel have focused on the identity of the three figures on the right. These were once thought to portray members of the Montefeltro family or to allude to the assassination in 1444 of Oddantonio da Montefeltro by his half-brother Federigo da Montefeltro, later Duke of Urbino and an important patron of Piero. Uncertainty about the date of this picture (probably mid-1450s) and its destination has led to many interpretations. (Source: Grove Art Online; http://www.oxfordart online.com/)
Description
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Collection:
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Adjunct Module B: Italian Art
LocalCollection
Adjunct Module B: Italian Art
Collection
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Identifier:
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7A1-PIERO-GNM-FC-A01
Image_OriginalVendor ID
7A1-PIERO-GNM-FC-A01
Identifier
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Rights:
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© Scott Gilchrist, Archivision, Inc.
Image_Rights
© Scott Gilchrist, Archivision, Inc.
Rights
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