 |
| Giovanni Angelo d'Antonio The Annunciation, with Donors ca. 1455 tempera on panel Pinacoteca Civica di Camerino |
 |
| Giovanni Angelo d'Antonio The Annunciation, with Donors (detail) ca. 1455 tempera on panel Pinacoteca Civica di Camerino |
 |
| Giovanni Angelo d'Antonio The Annunciation, with Donors (detail) ca. 1455 tempera on panel Pinacoteca Civica di Camerino |
 |
| Giovanni Antonio Bellinzoni da Pesaro St John the Baptist ca. 1460-70 tempera on panel Palazzo dei Musei, Modena |
 |
| Giovanni Antonio Bellinzoni da Pesaro The Resurrection before 1477 tempera on panel Galleria Nazionale delle Marche, Urbino |
 |
| Bartolomeo Caporali The Annunciation ca. 1480 tempera on panel Musée du Petit Palais, Avignon |
 |
| Bartolomeo Caporali The Annunciation (detail) ca. 1480 tempera on panel Musée du Petit Palais, Avignon |
 |
| Nicola di Maestro Antonio Dream of St Joseph ca. 1490 tempera on panel private collection |
"When we refer to "court art," we mean the distinctive objects and media, typical subject matter, and modes of production associated with princely households. In this context, painting and sculpture become but two relatively modest forms of luxury expenditure, alongside tapestry and embroidered textile hangings (usually imported), objects fashioned from ivory and precious metal, fine ceramics and glassware, engraved gems both ancient and modern, and illuminated books. And referring to "court art" is also a way of escaping the temptation of looking for a particular style characteristic of courts in general as opposed to such city republics as Florence or Venice. If anything, the courts of fifteenth-century Italy shared a desire to have the best of everything, which means art in a range of styles, whether Florentine, Venetian, French, or Netherlandish. . . . One of the pre-eminent court artists of the mid fifteenth century was Piero della Francesca, who worked in Rimini, Urbino, and Ferrara. Piero's command of geometry, perspective, and the architectural vocabulary of Filippo Brunelleschi and Leon Battista Alberti seems if anything more Florentine than the interests of his contemporaries working in that city."
– Stephen J. Campbell and Michael W. Cole, A New History of Italian Renaissance Art (Thames & Hudson, 2012)
 |
| Piero della Francesca St Jerome with donor Girolamo Amadi ca. 1440-50 tempera on panel Gallerie dell' Accademia, Venice |
 |
| Piero della Francesca St Michael Archangel (altarpiece fragment) ca. 1470 tempera on panel National Gallery, London |
 |
| Piero della Francesca The Annunciation (detail) (altarpiece fragment) ca. 1470 tempera on panel National Gallery, London |
 |
| Piero della Francesca Baptism of Christ ca. 1450 tempera on panel National Gallery, London |
 |
| Piero della Francesca Baptism of Christ (detail) ca. 1450 tempera on panel National Gallery, London |
 |
| Piero della Francesca Baptism of Christ (detail) ca. 1450 tempera on panel National Gallery, London |
 |
| Piero della Francesca Baptism of Christ (detail) ca. 1450 tempera on panel National Gallery, London |