Borgo Sancepolcro, Arezzo
Borgo Sansepolcro is a very smooth, despite the unevenness of the ground. The surrounding hills create an impressive background and detail that can be seen even from small corners of the city. It 'a city full of' art, ospinta many works of great value, but the most valuable is perhaps the Resurrection of Christ, painted in fresco by the most famous son of Borgo Sansepolcro, Piero della Francesca. The protection of Piero della Francesca St. Sepulchre is attested ritual iconography of major works such as the Resurrection, Our Lady of Mercy, which collects the entire community under her mantle, the Madonna del Parto the nearby Monterchi. It is a protection abstract and symbolic, that the master of Borgo Sansepolcro put in place by placing the background of all his paintings. From those depths clear terms of its town, with the same bell, the same ports, the same houses, the same rock, with the Tiber. A town and valley that purported to Piero not only as his city, but as an ideal place suggested by Pliny the Younger
Images of San Sepolcro and the area of the project
The Resurrection
The project idea comes from studies of paintings by Piero della Francesca: Resurrection and Polyptych of Mercy. The analysis and the various interpretations of many scholars have given the 'initial input, which allowed then to develop the concept.
In the painting The Resurrection, Piero della Francesca is a Christ the King, which rises above the tomb. In the first floor there are four people depicted in the moment of sleep, as if they were dreaming if they were having a vision of the Resurrection. Against the background of course there Sansepolcro, birthplace of the painter. About this painting, considered by many to be the poster work of Piero della Francesca, were given many interpretations. Eugenio Battisti for example, argues that the work was painted at a time of country's independence with respect to the Florentine dominion, so Jesus can be considered Sansepolcro overlooking his grave, his grave, his prison, or Florence. Jesus holds in his right hand the coat of arms of the Guelph party, people at the grave would be the inhabitants of Sansepolcro who dream of the end of the submission of Florence. Even the writing sub umbra alarum tuarum protege nos, could have both votive and then refer to Jesus as a political and then referring to Sansepolcro invoke the protection of the walls (alarum). De Tolnay says that Jesus can be considered as the sun rises in the East. De Tolnay says that Christ is the center pin light that divides the landscape into two parts (valid interpretation by other historians): this allegory of the seasonal cycle represents the passage from death to life. The right leg is still mired in the tomb and on that side the trees are dry, winter, the left hand is already extracted, and it is accompanied by green trees and lush; cirrus stray wandering in the sky add credibility to weather a naturalistic sense of ' allegory.
The centrality of the Redeemer is repeated continuously even in the Baptism of Christ, where Jesus is pervaded by the same spiritual light, the whole painting is developed geometrically around him. Certainly the paintings of Piero della Francesca, have a purely religious, but can not exclude the political significance hidden dall'allegoria.
In the painting The Resurrection, Piero della Francesca is a Christ the King, which rises above the tomb. In the first floor there are four people depicted in the moment of sleep, as if they were dreaming if they were having a vision of the Resurrection. Against the background of course there Sansepolcro, birthplace of the painter. About this painting, considered by many to be the poster work of Piero della Francesca, were given many interpretations. Eugenio Battisti for example, argues that the work was painted at a time of country's independence with respect to the Florentine dominion, so Jesus can be considered Sansepolcro overlooking his grave, his grave, his prison, or Florence. Jesus holds in his right hand the coat of arms of the Guelph party, people at the grave would be the inhabitants of Sansepolcro who dream of the end of the submission of Florence. Even the writing sub umbra alarum tuarum protege nos, could have both votive and then refer to Jesus as a political and then referring to Sansepolcro invoke the protection of the walls (alarum). De Tolnay says that Jesus can be considered as the sun rises in the East. De Tolnay says that Christ is the center pin light that divides the landscape into two parts (valid interpretation by other historians): this allegory of the seasonal cycle represents the passage from death to life. The right leg is still mired in the tomb and on that side the trees are dry, winter, the left hand is already extracted, and it is accompanied by green trees and lush; cirrus stray wandering in the sky add credibility to weather a naturalistic sense of ' allegory.
The centrality of the Redeemer is repeated continuously even in the Baptism of Christ, where Jesus is pervaded by the same spiritual light, the whole painting is developed geometrically around him. Certainly the paintings of Piero della Francesca, have a purely religious, but can not exclude the political significance hidden dall'allegoria.
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A project for Piero della Francesca
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