Polyptych of St Augustine: St Augustine
Oil
WallArt
Renaissance
1465
Renaissance
132.0 x 57.0 cm
Museu Nacional de Arte Antiga
Giclée / Art Print
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Polyptych of St Augustine: St Augustine
Giclée / Art Print
Reproduction Size
-
Total Price
$ 81
A Window into Faith and Perspective: Piero della Francesca’s Polyptych of St Augustine
Piero della Francesca's Polyptych of St Augustine, a captivating work housed within the Museo Nacional de Arte Antiga in Lisbon, Portugal, is more than just a religious painting; it’s a profound exploration of space, light, and human form. Completed around 1465, this polyptych – a triptych with wings – offers a rare glimpse into the artistic mind of one of the Renaissance's most innovative figures. Measuring a modest 132 x 57 cm, its scale belies the monumental impact of its composition and the meticulous detail evident in every brushstroke.
At first glance, the painting depicts St Augustine, likely a priest or monk, presented with an almost serene dignity. He’s enveloped in a rich robe, its hood suggesting both humility and contemplation. His hands are posed deliberately: one holding a book, a symbol of knowledge and scripture, while the other rests upon what appears to be a staff or scepter – a visual representation of his authority and spiritual guidance. However, it's not merely a portrait; the scene is layered with symbolic elements. The prominent cross at the top left corner immediately anchors the work within a Christian context, while the building in the background, rendered with astonishing precision, establishes a believable spatial depth—a hallmark of Piero’s mastery of perspective.
The Geometry of Faith: Piero della Francesca's Technique
Piero della Francesca was renowned for his revolutionary approach to art. He wasn’t simply interested in depicting reality; he sought to capture its underlying mathematical order. This is strikingly evident in the Polyptych of St Augustine. The painting utilizes a technique known as *contrapposto*, where the figure's weight shifts, creating a dynamic and natural pose. Furthermore, Piero meticulously calculated the dimensions of the scene, ensuring that all elements – buildings, figures, and objects – were rendered in perfect proportion according to mathematical principles. This obsession with geometry isn’t cold or sterile; it serves to elevate the religious subject matter, suggesting a divine order inherent within creation itself.
The use of tempera on panel is crucial to understanding the painting's character. Tempera paints dry quickly and allow for incredible detail and luminosity. Piero’s masterful control of light and shadow—chiaroscuro—further enhances the sense of depth and realism, drawing the viewer into the scene. The subtle gradations in color create a remarkable sense of volume, making the figures appear almost tangible.
A Window on Renaissance Lisbon: Context and Legacy
The Polyptych of St Augustine resides within the Museo Nacional de Arte Antiga in Lisbon, a museum dedicated to preserving Portuguese art from the Middle Ages through the early 20th century. Established in 1884, the museum is housed in the opulent Palácio Alvor-Pombal, a testament to Portugal’s rich architectural heritage. The presence of this painting within the museum's collection underscores its significance as a key example of Renaissance art and highlights Lisbon’s role as a center for artistic patronage during that period.
Beyond its immediate aesthetic qualities, the polyptych offers valuable insights into the cultural and religious landscape of 15th-century Portugal. The museum itself provides further context, housing other significant works from the era, including Antonio de Pereda’s still life and Francisco Henriques' depiction of the Last Supper – each offering a unique perspective on Renaissance artistic trends. The *Polyptych of St Augustine* stands as a powerful reminder of Piero della Francesca’s enduring legacy as one of the most influential artists of his time.
Bringing the Masterpiece Home: High-Quality Reproductions
OriginalUniqueArt offers meticulously crafted, hand-painted oil reproductions that capture the essence and beauty of Piero della Francesca's Polyptych of St Augustine. Our skilled artisans painstakingly recreate every detail – from the subtle nuances of color to the intricate textures of the robe and the precise geometry of the background – ensuring a faithful representation of this Renaissance masterpiece. Whether you’re an art enthusiast, a collector, or simply seeking to adorn your home with a timeless work of art, our reproductions provide an authentic and accessible way to experience the profound beauty and intellectual depth of Piero della Francesca's vision. Explore our collection today.
Questions & Answers
What are the medium and dimensions of "Polyptych of St Augustine: St Augustine" by Piero della Francesca?
The original "Polyptych of St Augustine: St Augustine" by Piero della Francesca is an oil work measuring 132 x 57 cm. Technique and size describe the original object.
How can I view "Polyptych of St Augustine: St Augustine" by Piero della Francesca as a slideshow?
The diaporama of "Polyptych of St Augustine: St Augustine" can be watched on the artwork's Diaporama page.
What space is suggested for "Polyptych of St Augustine: St Augustine" by Piero della Francesca?
The recommended space for "Polyptych of St Augustine: St Augustine" by Piero della Francesca is a living room. The suggestion can of course be adapted to your interior.
Artist Biography
The geometry of a quiet life
In the small, sun-drenched town of Sansepolcro, Piero di Benedetto de’ Franceschi lived a life shaped by the precise lines of his surroundings. His father worked with leather and wool, a trade that required a steady hand and an eye for detail. This early environment, far from the crowded workshops of larger cities, provided a foundation of stillness. He learned to see the world through the lens of order. Around 1439, he moved toward Florence, where the air was thick with new ways of seeing. There, he worked alongside Domenico Veneziano and studied the works of Masaccio in the Brancacci Chapel. He did not simply look at these paintings; he measured them. He took the innovations of Brunelleschi and broke them down into mathematical truths.
His hands moved between the brush and the compass. To him, a figure was as much a product of geometry as it was of anatomy. This way of working meant that light did not just fall upon a surface; it defined the volume of every limb and stone. He understood how a single vanishing point could pull a viewer into a deep, constructed space. His mind occupied the space between art and science, treating the canvas as a field for mathematical exploration.
The weight of the fresco
Much of his work remains fixed to the walls of churches in Tuscany. In the Basilica of San Francesco in Arezzo, he spent years working on the cycle of frescoes known as The History of the True Cross. These scenes are not hurried. Each figure possesses a heavy, quiet dignity. He used light and shadow to give weight to the characters, making them feel as solid as the architecture surrounding them. In other works, like the Baptism of Christ, he used a restrained palette to create an atmosphere of clarity. The colors are not loud, yet they possess a luminous quality that seems to come from within the figures themselves.
His approach to composition relied on strict principles:
- The use of linear perspective to create measurable depth.
- A focus on balanced, symmetrical arrangements.
- The application of geometric forms to human anatomy.
- The use of light to define physical volume and mass.
In the Montefeltro Altarpiece, his skill with oil painting allowed for a meticulous rendering of detail in the portraits of Federico da Montefeltro and Battista Sforza. He captured the texture of skin and the weight of fabric with a scientific precision. Even in his more recent works, such as The Nativity, he placed sacred scenes within a recognizable landscape, using the hills and rivers of the Tuscan countryside to ground the divine in the earthly.
A legacy of measurement
Piero was also a writer, documenting his findings in De Prospectiva Pingendi. This treatise on perspective painting shows that his interest in math was not secondary to his art; it was the core of it. He wrote about how to use geometry to represent the three-dimensional world on a flat surface. His work bridged the gap between the older, more decorative Gothic traditions and the new, rational Renaissance style. He sought beauty through proportion and order.
He died in 1492, leaving behind a body of work that influenced those who followed, including Leonardo da Vinci and Raphael. They looked to his mastery of light and his ability to organize space with mathematical certainty. His paintings remain windows into a world where the spiritual and the rational exist in a state of permanent, quiet balance.
Piero della Francesca
1415 - 1492 , Italy
Quick Facts
- Artistic Movement Or Style: Early Renaissance
- Artists Or Movements Influenced By This Artist:
- Leonardo da Vinci
- Raphael
- Artists Who Influenced This Artist:
- Masaccio
- Brunelleschi
- Full Name: Piero di Benedetto de' Franceschi
- Nationality: Italian
- Notable Artworks:
- The History of the True Cross
- Montefeltro Altarpiece
- Baptism of Christ
- The Resurrection
- The Nativity
- Place Of Birth: San Sepolcro, Italy
- Date Of Birth: 1415
- Date Of Death: 1492

Glass option is only available in size under 110 CM
