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The Cambridge Companion to Piero della Francesca

2002; Cambridge University Press; Volume: 23; Issue: 2 Linguagem: Inglês

10.33137/q.i..v23i2.9278

2293-7382

Jeryldene M. Wood, Jacqueline Marie Musacchio,

Renaissance and Early Modern Studies

The often romanticized interest in the art of Piero della Francesca goes back, as so many things do, to Giorgio Vasari, who decried the so-called theft of Piero's mathe- matical theories, lamented the loss of so many of his major paintings, and bemoaned his later blindness.Vasari, of course, favoured Piero as a sort of adopted Aretine, thanks to his True Cross cycle in Vasari's hometown of Arezzo.This romanticism was revived in nineteenth-century England, where a new interest in Piero led to a number of publications and the acquisition of several important paintings for enthusias- tic London institutions.By the early twentieth century, Post Impressionist taste found much to like in Piero's emphasis on structure and form, increasing