Venetian Red in Tuscany: The Many Marys of Piero della Francesca
By LIZ HAGER
© Liz Hager, 2010. All Rights Reserved.
It seems only fitting to follow The Legend of the True Cross post with an entry on Piero della Francesca’s Madonnas. After viewing scores of 13th and 14th century Madonnas stylized in the Byzantine icon tradition, I found Piero’s Marys refreshingly human. I can imagine scores of the faithful loosing their hearts to these radiant beauties.
There’s a physicality about Piero’s figures, which derives I think from the artist’s sensitive modeling of light and dark, but also from the figures’ weighty stances and individualistic features—i.e. full lips, averted eyes, not to mention a very unusual pregnant belly.
Through these techniques, Piero managed to create an archetypal Virgin with attributes beyond the usual sweetness, docility, and humility. His Madonnas display an earthy strength and dignity, characteristics I believe that no artist before or after him equally achieved.
Piero was greatly influenced by the Northern masters, and no doubt that is part of the reason he made his Madonnas resemble real people. I suspect, however, that years and years of looking at the country girls around him imprinted on his mind a particular female presence. And this he translated into figures of transcendent spirituality.
One can be lucky to see most of the Piero Madonnas along small corridor between Arezzo and Urbino. The drive from Sansepolcro (Piero’s birthplace) to Urbino is especially spectacular. From Sansepolcro, Italian route SS73 climbs precipitously up the towering Apennines. The views are thrilling, if dizzying at times. Once through the pass, the road descends into a picturesque valley populated by gently rolling hills, before arriving in the hilly environs of Urbino.