Brera Altarpiece Piero della Francesca (1415/17-1492)
Piero della Francesca – Brera Altarpiece
c.1472. 251x172.
Madonna and Child with Saints John the Baptist, Bernardine of SIena, Jerome, Francis of Assisi, Peter Martyr, and John the Evangelist, Four Angels, and Federico da Montefeltro.
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Painter: Piero della Francesca
Location: Pinacoteca di Brera, Milano.
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From approximately 1460, Piero was constantly associated with Federico da Montefeltro, Duke of Urbino, who was renowned as one of the most successful military leaders of his time... The painting was created after the untimely death of Federicos wife, Battista Sforza, in 1472 at the age of twenty-six. In the painting, her place opposite the kneeling Federico remained vacant, and an inscription on the back tells of the virtues of the Dukes wife.
Barbara Deimling
The painting, which is a variation on the theme of The Holy Conversation, was created between 1472 and 1474 for one of the churches in Urbino... On the conch, there is an ostrich egg, a symbol of the Immaculate Conception of the Virgin Mary, as well as a heraldic emblem of the Montefeltro family. The sleeping Infant foreshadows the death of Christ, but it can also be seen as an allusion to the birth of Guidobaldo, heir to the ducal throne. Federicos military armor can be interpreted as a sign of triumph over the capture of Volterra on June 18, 1472.
Elena Capretti
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Arranged around this focal point are numerous figures, each seemingly engaged in observing the scene. To the left, a group of men – some aged and gaunt, others younger but displaying expressions of distress – stand as witnesses. One figure carries a staff, suggesting perhaps a role of guidance or lamentation. On the right side, a man clad in armor kneels before the central figure, his posture indicating reverence or supplication. A religious figure, identifiable by his habit and tonsure, stands beside him, holding what appears to be a book. Several children are positioned near the seated woman, their faces reflecting a mixture of curiosity and apprehension.
The architectural backdrop is significant. The scene takes place within an expansive space defined by arches and coffered ceilings, suggesting a location of great importance – perhaps a temple or palace. Light streams in from above, illuminating the figures and creating a sense of theatricality. The perspective is carefully constructed to draw the viewer’s eye towards the central group, emphasizing their significance.
Subtleties within the painting suggest layers of meaning beyond a straightforward depiction. The contrast between the opulent attire of the central figure and the simple garments of some of the onlookers hints at social hierarchies or perhaps a commentary on divine grace extending even to those less privileged. The presence of the armored knight introduces an element of worldly power alongside spiritual contemplation, potentially alluding to themes of faith versus conflict or secular authority interacting with religious belief. The children’s inclusion may symbolize future generations inheriting this moment of solemnity and reflection. Overall, the work conveys a sense of profound loss, reverence, and the complexities of human experience within a divinely ordained framework.