Piero della Francesca, The Baptism of Christ

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Piero della Francesca, The Baptism of Christ발음듣기

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(piano music) [Woman] Looking at a very large panel painting by Piero della Francesca of the baptism of Christ.발음듣기

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This is a typical subject that we see a lot.발음듣기

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[Man] But not a typical treatment.발음듣기

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Piero was one of those Renaissance artists that I think the modern era has loved.발음듣기

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In part because of the emphasis on geometry and a kind of abstraction of space and form.발음듣기

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[Woman] He really stands out as having a really unique style in the early Renaissance.발음듣기

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It's defined by a kind of stillness of the figures, a kind of quietness.발음듣기

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[Man] It has all of the characteristics of an ideal moment.발음듣기

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This is the moment literally the moment when John allows the water to pour from that bowl onto Christ's head and would be that moment when the Holy Spirit in the form of the dove appears.발음듣기

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[Woman] John is so ever so gently and tentatively pouring that water over Christ, who of course Christ asked John to baptize him and John at first refused and Christ insisted because John said, "No you should baptize me."발음듣기

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[Man] The angels on the left look equally concerned and there is a kind of tentativeness.발음듣기

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Look at the focus in John's eyes.발음듣기

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[Woman] The sort of tentativeness is expressed in his left hand.발음듣기

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[Man] Yes, oh absolutely, and you can see that in the hands of the angels as well.발음듣기

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[Woman] There is a kind of stillness and sense of linearity to the figures.발음듣기

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Christ occupies the exact center of the composition directly under the dove.발음듣기

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He stands in a lovely contrapposto with his hands in prayer.발음듣기

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[Man] There is a really strict geometry.발음듣기

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You have the verticality that you already mentioned.발음듣기

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But not only was there bilateral symmetry of Christ's body in the center of the canvas but of John being quite strayed of the angels very erect, the tree, all the trees.발음듣기

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Then there is a series of perfect horizontals.발음듣기

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Look at the way that John's belt continues the movement of the man who is taking off his shirt to the right, moves across Christ's waist and picks up the belt of the middle angel.발음듣기

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So you have a kind of perfect horizontal that moves across that is echoed by the horizontality of the dove, whose line is continued by the clouds, and then there are a series of circles.발음듣기

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The painting itself is an arch but that arch of that circle is picked up and continued by the arc of the top of the cloth that covers Christ's waist and then by John's hand and arm and even by the sort of line that is created as the man pulls his shirt over his head so that you've got really this sort of continued negative arc or the bottom of the arc of the circle.발음듣기

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[Woman] This love of geometry.발음듣기

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We know that perspective was something that Piero also was really interested in and wrote a treatus about.발음듣기

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This interest in the mathematical foundations of beauty and harmony is something that we really see very broadly in the early renaissance.발음듣기

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[Man] I think that there is an additional kind of peculiarity, which has to do with the placement.발음듣기

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Clearly this is not the middle east.발음듣기

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The hill town that we see just below Christ's elbow is clearly of Tuscany.발음듣기

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[Woman] Maybe even where Piero was from, which was Borgo Santo Sepolcro.발음듣기

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[Man] That's right but we have a reference to the river Jordan in back of Christ, which is in and of itself a sort of peculiar almost minimized and abstracted into a little stream that almost seems to stop, as if it's a little pathway actually, going back a kind of reflective pathway.발음듣기

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[Woman] There is a kind of intentionality here and a kind of formality that I think is very appealing in the 21st century. (piano music).발음듣기

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