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pose. Typical in Piero's work, this solemn, static, languid, and realistic pose has an innate sense of balance. The serious and thoughtful face looks out from the frame, whilst the throat is modeled anatomically on classical sculptures and the friezes with palmettes in the background on classical
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motifs. The clear light almost cancels out the shadows, without diminishing the volume and three-dimensionality of the body. These stylistic elements place the work close to the artist's
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as a nude with a lion-skin, standing in front of a basin, holding a club and with his left hand on his hip and his legs in an asymmetric
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It was rediscovered during the second half of the 18th century in a room of the artist's family home on via delle
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scene which includes a boy leaning on a club in a similar pose to that of
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Diptych of
Federico da Montefeltro and Battista Sforza
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This article about a fifteenth-century painting is a
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92:in Arezzo, particularly that work's
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525:Paintings by Piero della Francesca
45:in Boston, which acquired it from
28:(c. 1465) by Piero della Francesca
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415:De quinque corporibus regularibus
65:before being acquired in 1903 by
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314:Saint Augustine Altarpiece
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404:(treatise on perspective)
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207:History of the True Cross
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126:, Giunti, Firenze 1999.
67:Isabella Stewart Gardner
37:is a fresco fragment by
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401:De Prospectiva pingendi
283:Saint Louis of Toulouse
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360:Madonna di Senigallia
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122:, collana
104:References
88:True Cross
63:Elia Volpi
191:Paintings
73:in 1903.
393:Writings
299:Hercules
98:Hercules
90:frescoes
78:Hercules
34:Hercules
26:Hercules
426:Related
53:History
286:(1460)
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