Portraits Federico da Montepheltro Urbinscoro and Battista Sforza, Piero Della Francesca, 1465

Portraits Federico da Montepheltro Urbinscoro and Battista Sforza, Piero Della Francesca, 1465
Portraits Federico da Montepheltro Urbinscoro and Battista Sforza, Piero Della Francesca, 1465 - 1

  • Posted by Piero Della Francesca
  • Museum: Uffizi Gallery
  • Year: 1465

Overview of the painting :

Portraits Federico da Montepheltro Urbinscoro and Battista Sforza – Piero Della Francesca. 1465. Both are wood, oil. 47×33
   As if air-filled paintings by this artist, quatrocento at the same time leave the impression of power and peace. These are the portraits of the Duke of Urbinsky Federico da Montepheltro and his wife Battista Sforza.

   Their faces are given in profile, in accordance with the portrait tradition of that time, closely related to the image of famous people on coins and medals. But none of the portrait artists was able to derive such benefits from this angle as Piero Della Francesca: he gave the appearance of Federico and Battista unprecedentedly majesty, for the first time raised the portraised person to those heights where he was supposed to stand in the era of humanism. The impression of the monumentality of images at a small size of boards is enhanced by the fact that the landscape leaving the distance, shown from a high point, plays the role of the background. It should be noted that the angle in which Federico is depicted also allowed to hide the mutilated half of the face of a fearless confectioner. But the chased profile, even more highlighted in even red robes, has a soft cut-off. A calm, self-confident look from under the difficult ages and skin tenderness on the temples, cheeks and neck give such a subtle and true feeling of a person that will not always give a psychological portrait that has spread at a later time.

   Initially, the sash of the altar thanks to the joints were mobile, it could be folded and viewed on the back of the boards with portraits of the stage of the triumph of Federico and Battista. Both spouses, sitting on chariots harnessed by horses, go towards each other. In the image of a landscape written in detail and with the transmission of a light air environment, the influence of Dutch painting is noticeable.