Diego Rivera (1886-1957)

Diego Rivera was a fresco painting marvel born in Guanajuato, Mexico on December 8th, 1886. He is well-known for his large fresco murals, as well as being the promiscuous husband of artist Frida Kahlo.

After studying art in the Academy of San Carlos, Mexico City, Rivera travelled to Spain and later moved to Paris, where he befriended modern artists such as Picasso. As a result, Diego was influenced and adopted the Cubist style until 1917, where his artistic style transitioned into a Post-Impressionist style similar to Cézanne.

Early on in his career, Diego painted murals depicting Mexican themes and subjects. Later murals created by Rivera included flat human figures, bright colours and wider subject matter such as peasants and factory workers while covering thousands of square feet on building walls. He was also a Communist, which reflected onto his murals and sparked controversy during his time.

Rivera’s attitude towards art revolved around his art coming first before other aspects of his life. The phrase that accompanied this attitude was ‘Mi arte, mi vida’ meaning my art, my life in Spanish. This phrase became the title of his autobiography, solidifying his legacy for future generations.

WORKS CITED

• Bartra, Eli. “Rivera, Diego.” Encyclopedia of Mexico: History, Society & Culture, edited by Michael S. Werner, Routledge, 1st edition, 1998. Credo Reference, https://search-credoreference-com.ezproxy.capilanou.ca/content/entry/routmex/rivera_diego/0. Accessed 9 Dec. 2019.
• The Editors of Encyclopaedia Britannica. “Diego Rivera.” Biographies, 04 Dec. 2019. Encyclopædia Britannica, inc., https://www.britannica.com/biography/Diego-Rivera/images-videos. Accessed 09 Dec. 2019.

IMAGES OBTAINED FROM

• https://www.diegorivera.org/flowerseller.jsp
• https://www.diegorivera.org/nudecalla.jsp
• https://www.diegorivera.org/dream-of-a-sunday-afternoon-in-alameda-park.jsp
• https://www.diegorivera.org/man-at-the-crossroads.jsp
• https://www.diegorivera.org/crossing-the-barranca.jsp

Roy Lichtenstein (1923-1997)

Born in New York City in 1923, Roy Lichtenstein is known for his contributions to Pop Art, hence being considered a founder of the art movement. His works are reminiscent of comic strips, and his style takes influences from van Gogh, Matisse and Picasso.

Early on in his career, Roy’s work took the form of Western-style pieces from 1951 to around 1957, depicting cowboys and Indians. He later began incorporating pop culture figures such as Mickey Mouse and Donald Duck

Lichtenstein eventually began to paint, advertisement illustrations, variants of other artists’ works and adaptations of paintings by older artists such as Piet Mondrian around 1961. He also began painting his famous comic style pieces the same year.

Roy’s cartoon pieces involved themes such as romance and war, while also depicting sound effects, portraying onomatopoeia in large and bold letters.

Lichenstein eventually hosted his first show in his hometown during 1962, which achieved outstanding success and global attention. Roy was also the first artist in the U.S. to exhibit their work in the London Tate Gallery in 1966.

Today, Roy’s work achieves a unique identity, with his easily-distinguished comic style pieces and relatively recent work, depicting furnished interiors.

WORKS CITED

• “Lichtenstein, Roy.” Gale Biographies: Popular People, edited by Gale Cengage Learning, 1st edition, 2018. Credo Reference, https://search.credoreference.com/content/entry/galegbpp/lichtenstein_roy/0. Accessed 02 Dec. 2019.
• The Editors of Encyclopaedia Britannica. “Roy Lichtenstein.” Biographies, 23 Oct. 2019. Encyclopædia Britannica, inc., https://www.britannica.com/biography/Roy-Lichtenstein. Accessed 02 Dec. 2019.
• “Lichtenstein, Roy (1912).” The Bloomsbury Guide to Art, edited by Shearer West, Bloomsbury, 1st edition, 1996. Credo Reference, https://search.credoreference.com/content/entry/bga/lichtenstein_roy_1912/0. Accessed 02 Dec. 2019.
• Kolva, Jeanne. “Lichtenstein, Roy (b. Oct. 27, 1923; d. Sept. 30, 1997).” Encyclopedia of New Jersey, edited by Maxine N. Lurie, and Marc Mappen, Rutgers University Press, 1st edition, 2004. Credo Reference, https://search.credoreference.com/content/entry/rutgersnj/lichtenstein_roy_b_oct_27_1923_d_sept_30_1997/0. Accessed 02 Dec. 2019

IMAGES OBTAINED FROM

• https://www.britannica.com/biography/Roy-Lichtenstein
• https://en.wikipedia.org/wiki/Look_Mickey
• https://en.wikipedia.org/wiki/Drowning_Girl
• https://whitecubediaries.wordpress.com/2013/07/25/todays-muse-roy-lichtensteins-interiors/

Joan Miró

Early on in his life, Joan Miró dreamt of being a painter and began to pursue his passion in Tarragona, Spain. Born on April 20,1893 in Barcelona, Miró drew influences from the likes of Paul Cezanne and the Fauvist movement, resulting in a figurative style of painting. He was also adept at lithography, and crafting sculptures or ceramics.

He later encountered works from the Surrealist movement in Catalonia and Paris, and Miró began to combine abstract art and surrealism in his work.

Joan’s painted certain elements from life, such as farm animals and household items. Miró explored the painting of landscapes, discarding realism for a more abstract or suggestive focus.

It was after WWII when he began receiving public attention, from there he worked on commissions and his work was exhibited globally. In 1930, Miró was awarded a Gold Medal of Fine Arts in Spain, while having a plaza named in his honour in Madrid. He would later die from cardiovascular disease on December 25, 1983.

Combining elements from abstraction and life, Miró and his work are known today for their allusions to surrealist, fancy and poetic fantasies.

WORKS CITED

• “Miró, Joan (1893 – 1983).” The Bloomsbury Guide to Art, edited by Shearer West, Bloomsbury, 1st edition, 1996. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/bga/mir%C3%B3_joan_1893_1983/0?institutionId=6884. Accessed 24 Nov. 2019.
• Erben, Walter. “Joan Miró.” Biographies, 5 Sep. 2019. Encyclopædia Britannica, inc., https://www.britannica.com/biography/Joan-Miro. Accessed 24 Nov. 2019.

IMAGES OBTAINED FROM

• https://www.masmiro.com/en/ruta
• https://www.wikiart.org/en/joan-miro/the-farm-1922
• http://coshamie.com/art-revolutionaries-at-mayoral-london/.
• https://www.joan-miro.net/constellations.jsp
• https://www.joan-miro.net/blue.jsp

Giorgio de Chirico

Born in Vólos, Greece on July 10, 1888, Giorgio de Chirico later moved to Germany and enrolled in the Munich Academy of Fine Arts Influenced by German painters and philosophers such as Arnold Böcklin, Giorgio rejected naturalism and instead focused on poetic and envisioned subjects.

The majority of de Chirico works were influenced by his surroundings and mental state (at the time), ranging from the tightly-built city of Florence to his episodes of illness and depression, often resulting in agitating pieces of art while invoking a sense of enigma.

Giorgio eventually developed the Metaphysical painting style alongside Carlo Carro in 1917, which helped attract attention to his poetic artworks.

De Chirico’s sense of mystery in his work began to fade in 1919 when he began painting with a more realistic, technical style. He later disassociated himself with his past works and colleagues in 1930. Giorgio eventually died on November 19, 1978, in Rome, Italy.

Most of de Chirico’s masterpieces were created during 1917. The colours of these works were bright and subjects that were not usually significant were given importance. The same works would even influence Surrealist painters such as Salvador Dali.

WORKS CITED

• Chirico Giorgio de (1888 – 1978).” A Biographical Dictionary of Artists, Andromeda, edited by Lawrence Gowing, Windmill Books (Andromeda International), 2nd edition, 1995. Credo Reference, https://search-credoreference-com.ezproxy.capilanou.ca/content/entry/andbda/chirico_giorgio_de_1888_1978/0. Accessed 18 Nov. 2019.
• The Editors of Encyclopaedia Britannica. “Giorgio de Chirico.” Biographies, 15 Nov. 2019. Encyclopædia Britannica, inc., https://www.britannica.com/biography/Giorgio-de-Chirico. Accessed 19 Nov. 2019.

IMAGES OBTAINED FROM

• https://www.wikiart.org/en/giorgio-de-chirico/piazza-d-italia-1913
• https://www.wikiart.org/en/giorgio-de-chirico/mystery-and-melancholy-of-a-street-1914
• https://www.wikiart.org/en/giorgio-de-chirico/the-melancholy-of-departure-1916-1
• https://www.britannica.com/biography/Giorgio-de-Chirico
• https://www.wikiart.org/en/giorgio-de-chirico/the-disquieting-muses-1918-1

Odilon Redon

Born in Bordeaux, France to a peasant father and Creole mother, Odilon Redon was an agreeably-great artist and printmaker who first learned drawing in his hometown, then architecture and painting in École des Beaux-Arts.

He had an opposition towards lessons given by artist Jean-Léon Gérôme and instead was taught by engraver Rodolphe Bresdin. His time with Bresdin defined the beginning of his career, with small engravings of landscapes from childhood memories, influenced by artists like Camile Corot and Eugene Delacroix. Odilon also created oil paintings that sometimes involved figurative and religious subjects.

In his autobiography, À Soimême, he mentions the main subjects in his work, those being ‘Man and Nature’ and “suggestive” art. These subjects were influenced by his friends: Armand Clavaud and Stéphane Mallarmé.

Eventually, Redon became the Société des Artistes Indépendants president in 1884, even beginning to display his work in Salons around 1904. He influenced the work of his peers, including Paul Gauguin, and was admired by Symbolist writers during his time.

Odilon then died on July 6, 1916, in Paris, but not without influencing the world of 20th-century art. His disinterest in realism was one of the major influences of the Surrealist art movement.

WORKS CITED

• “Redon, Odilon (1840 – 1916).” The Bloomsbury Guide to Art, edited by Shearer West, Bloomsbury, 1st edition, 1996. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/bga/redon_odilon_1840_1916/0?institutionId=6884. Accessed 02 Nov. 2019.
• “Redon Odilon (1840 – 1916).” A Biographical Dictionary of Artists, Andromeda, edited by Lawrence Gowing, Windmill Books (Andromeda International), 2nd edition, 1995. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/andbda/redon_odilon_1840_1916/0?institutionId=6884. Accessed 02 Nov. 2019.
• “Mallarmé, Stéphane.” Britannica Concise Encyclopedia, Encyclopaedia Britannica, Britannica Digital Learning, 2017. Credo Reference, https://search-credoreference-com.ezproxy.capilanou.ca/content/entry/ebconcise/mallarme_stephane/0. Accessed 02 Nov. 2019.
• The Editors of Encyclopaedia Britannica. “Odilon Redon.” Biographies, 25 Aug. 2019. Encyclopædia Britannica, inc., https://www.britannica.com/biography/Odilon-Redon. Accessed 02 Nov. 2019.
• Seiferle, Rebecca. “Odilon Redon Artist Overview and Analysis.” The Art Story, The Art Story Contributors, 30 Mar. 2017, www.theartstory.org/artist/redon-odilon/. Accessed 02 Nov. 2019

IMAGES OBTAINED FROM

• https://www.britannica.com/biography/Odilon-Redon
• https://www.art-prints-on-demand.com/a/odilon-redon/pegasus-triumphant.html
• https://www.artsy.net/artwork/odilon-redon-dans-le-reve-portfolio-of-11-lithographs
• https://www.clevelandart.org/art/1926.25

Camille Corot

Born on July 16, 1796, as Jean-Baptiste-Camille Corot in Paris, France, this prolific artist was well-known for his landscape paintings that later influenced Impressionist painters. Born to rich parents, Camille dreamed of becoming a painter.

Camille studied at the Louvre, with private lessons from Achille-Etna Michallon and Jean-Victor Bertin, followers of Neoclassical painter Pierre-Henri de Valenciennes.

Eventually, Camille would travel to Rome and upon returning, declared to his friend that he will paint landscapes and never get married, a statement that remained true for the rest of his life. He later achieved popularity through painting poetic landscapes, with sensitive tones and silvery colours.

Corot regularly showcased his work in the 1830s, earning him critical success. Collectors then became eager for his work in the 1850s. Corot started and gave lessons to impressionists such as Camille Pissaro and had many pupils studying under his wing, also earning the name “Papa Corot” for his kindness and generosity.

By the time of his death on February 22,1875, Corot established a foundation for landscape painters in the Impressionism Art Movement and became highly respected. Respect- well-deserved for an artist with a kind heart and mastered tuning towards landscapes with tones and colour.

WORKS CITED

• Bowness, Alan. “Camille Corot.” Biographies, 12 July 2019. Encyclopædia Britannica, inc., https://www.britannica.com/biography/Camille-Corot. Accessed 27 Oct. 2019.
• Gombrich, E.H. “Permanent Revolution: The nineteenth century” The Story of Art, by Ernst Hans. GOMBIRCH, 16th ed., Phaidon, 1995

IMAGES OBTAINED FROM

• https://en.wikipedia.org/wiki/The_Bridge_at_Narni#/media/File:Jean-Baptiste-Camille_Corot_006.jpg
• https://www.britannica.com/biography/Camille-Corot/Years-of-success#/media/1/138362/180442
• https://www.metmuseum.org/toah/works-of-art/38.64/
• https://commons.wikimedia.org/wiki/File:Camille_Corot_-_Woman_with_a_Pearl.jpg
• https://www.britannica.com/biography/Camille-Corot/Years-of-success#/media/1/138362/59883

Jean-Auguste Ingres

Born in Montauban, France on August 29, 1780. Jean-Auguste-Dominique Ingres was a French painter who was controversial due to his work and opinions on other works of art.

His family had an artistic background, he received his first art lessons from his father. Ingres continued developing his skills in portraiture and history painting. Ingres was well-known for his portraits, but he strangely preferred to paint historical events, thinking lowly of portraiture.

He was meticulous about details in his works, and preferred precision, despising works of novelty, improvisation and sloppiness which he considered as ugly.

Ingres’ work received publicity in ‘Salons’, which were official contemporary art exhibitions where he displayed his portraits and historical works. There, he implemented the technique of distorting figures and space.

Future works featured nude women, attracting negative views that were later extinguished in future ‘Salons’, with Ingres receiving critical acclaim in Paris with works such as the one above.

Ingres would eventually die on January 14, 1867, in Paris, but not without having ties with highly-regarded figures such as the King of France. In consensus, his explorations of distorting space and anatomy left an impression in the 20th century, influencing the likes of Picasso and Matisse.

WORKS CITED

• “Ingres, Jean-Auguste-Dominique.” Britannica Concise Encyclopedia, Encyclopaedia Britannica, Britannica Digital Learning, 2017. Credo Reference, https://search-credoreference-com.ezproxy.capilanou.ca/content/entry/ebconcise/ingres_jean_auguste_dominique/0?institutionId=6884. Accessed 19 Oct. 2019.
• Gombrich, E.H. “Permanent Revolution: The nineteenth century” The Story of Art, by Ernst Hans. GOMBIRCH, 16th ed., Phaidon, 1995
• Shelton, Andrew C. “J.-A.-D. Ingres.” Biographies, 25 Aug. 2019. Encyclopædia Britannica, inc., https://www.britannica.com/biography/J-A-D-Ingres. Accessed 19 Oct. 2019.

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• https://www.britannica.com/biography/J-A-D-Ingres/images-videos
• https://www.napoleon.org/en/history-of-the-two-empires/paintings/napoleon-i-on-his-imperial-throne/
• http://mini-site.louvre.fr/ingres/1.4.3.1_en.html
• https://www.wikiart.org/en/jean-auguste-dominique-ingres/the-source-1856

Claude Lorrain

Born as Claude Gellée in Chamagne, France in 1600, Claude Lorrain is known as the greatest landscape artist of the 17th century.

Lorrain was an employed pastry cook for Agostino Tassi before becoming his apprentice from 1618 until 1625. Tassi was a major influencer of Lorrain’s art style.

After his apprenticeship, Lorrain’s commissioned works were famous, causing them to be imitated by many. To prevent theft, he recorded them in a notebook- later published as the ‘Liber Veritatis’.

Lorrain usually painted seascapes and landscapes before 1640, mastering atmospheric perspective.

Onwards, his works involved human subjects, taking studies from Domenichino and Annibale Carracci. He included biblical and mythological subjects, making his compositions more complex and lively.

Lorrain was the first to open public eyes to the beauty of nature, with rich English men modelling their gardens after Claude’s work. His last known painting was ‘Ascanius Shooting the Stag of Silva‘ in 1682 before dying during that year.

Lorrain specified strictly on nature and light in landscape painting, unlike artists who painted a wider range of subjects such as Rubens and Rembrandt.

This choice made his art appeal to later generations, with his study of nature solidifying his place in art history.

WORKS CITED

• Gombrich, E.H. “Visions and Visions: Italy, later seventeenth and eighteenth century” The Story of Art, by Ernst Hans. GOMBIRCH, 16th ed., Phaidon, 1995
• “Claude Lorrain (1600 – 1682).” A Biographical Dictionary of Artists, Andromeda, edited by Lawrence Gowing, Windmill Books (Andromeda International), 2nd edition, 1995. Credo Reference, https://search-credoreference-com.ezproxy.capilanou.ca/content/entry/andbda/claude_lorrain_1600_1682/0. Accessed 05 Oct. 2019.
• “Claude Lorrain.” The Columbia Encyclopedia, Paul Lagasse, and Columbia University, Columbia University Press, 8th edition, 2018. Credo Reference, https://search-credoreference-com.ezproxy.capilanou.ca/content/entry/columency/claude_lorrain/0. Accessed 06 Oct. 2019.
• “Liber Veritatis.” British Museum, Trustees of the British Museum, 2019, https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1525759&partId=1
  “Claude Lorrain Artworks & Famous Paintings.” The Art Story, The Art Story Foundation, 2019, www.theartstory.org/artist/lorrain-claude/artworks/.
  The Ashmolean Museum of Art and Archaeology. “Landscape with Ascanius Shooting the Stag of Sylvia.” Landscape with Ascanius Shooting the Stag of Sylvia | Art UK, Art UK, artuk.org/discover/artworks/landscape-with-ascanius-shooting-the-stag-of-sylvia-141828.

IMAGES OBTAINED FROM

• https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.%20Paintings/36956/!ut/p/z1/jZBNT8MwDIb_Cjv0SOx-pO24RUFijI1O04CQC8qmrg1qk6oNq8SvJyAuICj4Zunx68cGCQKkUSddKaetUY3vH2X6VDCWhjHHZcHpJbJiu6FbfnuFYQIPHwD-UgxB_md-ApDT8cu_FvgLon7N1xXITrn6XJujBYEhOdsobZw21QAiTuc09S7yW9r1TebTdnRRFPc84sknMO2j9y0ZDy1BQiOKYTxHzLMoS_L0XYaZfZx7mb48ln3Zk5fef7l2rhsuAgxwHEdSWVs1JTnYNsCfRmo7OBBfSejaO_G6WuAzbU4rNpu9AQBrDk8!/dz/d5/L2dBISEvZ0FBIS9nQSEh/?lng=en
• https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1525759&partId=1
• https://www.theartstory.org/artist/lorrain-claude/artworks/
• https://artuk.org/discover/artworks/landscape-with-ascanius-shooting-the-stag-of-sylvia-141828

Hieronymus Bosch

Hieronymus Bosch, born on 1450 as Jerome van Aken, was the Dutch son of accomplished painters. His renowned name is derived from his hometown, known as s’Hertogenbosch.

A master of the unreal, he was referred to as a “creator of devils” for his depictions of evil in his paintings. Bosch tended to combine fantasy with reality, painting fictional apocalyptic scenes with supernatural and human figures.

His works were religious, usually seen as sermons centred on sin. Bosch’s early works indicate influences from artists such as Rogier van der Weyden.

Bosch was rather pessimistic and stern, with critics believing he was a practitioner of the occult arts, and affiliated with secret groups due to his depictions of evil. Most historians disagree with this since Hieronymus was Catholic and well respected by his neighbours and peers.

Hieronymus later died on August 9, 1516, ending with a successful career and (as written in official records) the title of “Insignis Pintor” or distinguished painter. A proper title for a master of imagination.

Today, Bosch is viewed as a talented artist with insight into human character. He is considered the first to artistically depict abstract concepts and is often imitated by many artists.

WORKS CITED

• Gombrich, E.H. “The New Learning Spreads: Germany and the Netherlands, early sixteenth century.” The Story of Art, by Ernst Hans. GOMBIRCH, 16th ed., Phaidon, 1995
• “Bosch, Hiëronymus.” Britannica Concise Encyclopedia, Encyclopaedia Britannica, Britannica Digital Learning, 2017. Credo Reference, https://search-credoreference-com.ezproxy.capilanou.ca/content/entry/ebconcise/bosch_hieronymus/0. Accessed 28 Sep. 2019.
• “Bosch, Hieronymus (c. 1450 – 1516).” The Bloomsbury Guide to Art, edited by Shearer West, Bloomsbury, 1st edition, 1996. Credo Reference, https://search-credoreference-com.ezproxy.capilanou.ca/content/entry/bga/bosch_hieronymus_c_1450_1516/0. Accessed 28 Sep. 2019.
• “Tabletop of the Seven Deadly Sins and the Four Last Things (oil on panel).” Bridgeman Images: The Bridgeman Art Library, edited by Bridgeman Images, 1st edition, 2014. Credo Reference, https://search-credoreference-com.ezproxy.capilanou.ca/content/entry/bridgeart/tabletop_of_the_seven_deadly_sins_and_the_four_last_things_oil_on_panel/0. Accessed 28 Sep. 2019.
• Kuiper, Kathleen. “Hiëronymus Bosch.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 5 Aug. 2019, www.britannica.com/biography/Hieronymus-Bosch.

IMAGES OBTAINED FROM

• www.hieronymusbosch.net/the-garden-of-earthly-delights/
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• https://en.wikipedia.org/wiki/Paradise_and_Hell#/media/File:Jheronimus_Bosch_115_inner_wings.jpg
• www.hieronymusbosch.net/crucifixion-with-a-donor/.
• https://search-credoreference-com.ezproxy.capilanou.ca/content/entry/bridgeart/tabletop_of_the_seven_deadly_sins_and_the_four_last_things_oil_on_panel/0

Piero Della Francesca

A master lost and found again, Piero Della Francesca is the artist I’m covering this week.

Born in Borgo San Sepolcro (present-day Sansepolcro) in 1416, Francesca was curious and wanted to artistically depict light, geometry, and perspective. Piero created many fresco works, most unfortunately lost. His known pieces involve religious themes, like the famous “History of The True Cross” which combined smaller works such as the “Dream of Constantine”:

During his time as an artist, his artistic explorations did not influence his peers much, compared to his scientific contributions in the form of art-related treatises. This earned him fame, which faded after his death.

He was forgotten, only to be rediscovered in the early twentieth century. Now recognized as a master artist of the Italian Renaissance, his style is praised for his mastery of perspective, geometry, and light. Piero’s “The Baptism of Christ” piece, which experimented with light and perspective, caught my attention:

I’m still trying to figure out how to illustrate water reflections and he does this quite well. To me, it was rather impressive. It’s hard for me to understand why his work failed to influence his peers, but I’m glad he now has the recognition he deserves.

WORKS CITED

• “PIERO DELLA FRANCESCA (about 1415/20—1492) The Baptism of Christ.” The National Gallery Companion Guide, Erika Langmuir, The National Gallery, 2nd edition, 2016. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/ngcg/piero_della_francesca_about_1415_20_1492_the_baptism_of_christ/0?institutionId=6884. Accessed 14 Sep. 2019.
• “PIERO DELLA FRANCESCA (about 1415/20—1492) The Nativity.” The National Gallery Companion Guide, Erika Langmuir, The National Gallery, 2nd edition, 2016. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/ngcg/piero_della_francesca_about_1415_20_1492_the_nativity/0?institutionId=6884. Accessed 14 Sep. 2019.
• True Cross, history of the. (1996). In S. West (Ed.), The Bloomsbury Guide to Art. London, UK: Bloomsbury. Retrieved from https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/bga/true_cross_history_of_the/0?institutionId=6884
• Charles, Victoria. Renaissance Art. Parkstone International, 2007. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=436228&site=eds-live&scope=site.
• “Tradition and Innovation: I – The Later Fifteenth Century in Italy.” The Story of Art, by E. H. Gombrich, 16th ed., Phaidon Press Limited, 1995, pp. 260.
• Watson, Paul F. “Piero Della Francesca.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 30 Apr. 2019, www.britannica.com/biography/Piero-della-Francesca.

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• https://www.historytoday.com/archive/foundations/dream-constantine
• http://www.travelingintuscany.com/art/pierodellafrancesca/nativity.htm
• https://www.independent.co.uk/arts-entertainment/art/features/great-works-the-baptism-of-christ-1448-1450-piero-della-francesca-1860900.html