One of the most interesting aspects of the works of
Piero della Francesca, whether they are frescoes or panel paintings, is
the landscape to which the artist devotes ample space in his works.
Who has not paused for a moment to observe and submit
to the attraction of those natural or architectural backgrounds which
are to be found in the frescoes of the Legend of the True Cross
in Arezzo or the Resurrection in Sansepolcro?
The attraction that
this aspect has always exerted, inspiring poets to pen noble verses and
writers to impassioned prose, is well-known.
Even today, the
descriptions of the great travelers could guide the visitor through the
works of Piero della Francesca, allowing him to discover that
practically nothing has changed.
The beautiful views, the daring
foreshortenings, the barren and rocky mountains of the Valtiberina are
those described in 1581 by Michel de Montaigne on a journey from
Sansepolcro to Arezzo, via the La Scheggia pass, landscapes immortalized
in the background to the Resurrection.
The Tiber, the river that laps the town of Sansepolcro
and appears as a naturalistic element dividing the two armies in the
Battle between Constantine and Maxentius in the Arezzo frescoes, is
described with particular affection and devotion by the English writer
G. M. Trevelyan: "This reach of the great river, where it first leaves
its mountains cradle, has a peculiar effect on the imagination…the line
of a poplar wood shading the course of the Tiber…a clear stream of the
blue and silver eddies".
The ilex-cloaked hills that form the background to the
scene showing the Queen of Sheba appears to have been a landscape very
dear to Piero, a memory linked to the artist’s childhood between the Val
Cerfone and the Val Padonchia, between which was the birthplace of his
mother, Monterchi, famous for the celebrated fresco of the Madonna
del Parto.
The ploughed fields, the hills seen from the heights
of Anghiari appearing like hillocks of color, shifting with the change
of the seasons, are arranged with graceful harmony and give the observer
a sense of calm and grace. These are the same sensations that we
perceive before the landscape of the Adoration of the Wood in the
Arezzo cycle, or in the background of the Resurrection in
Sansepolcro.