Lilly's Art


Back to category Paintings and Drawings.

Prachensky, Markus


1932 Innsbruck/Tyrol - 2011 Vienna

„La Battaglia di San Romano – Firenze“
verso titled and dated
acrylic on canvas
59×80¾ in

Markus Prachensky’s 2010 series „La Battaglia di San Romano“ pays homage to the triptych of the same name by the early Renaissance painter Paolo Uccello. The latter had recorded the Battle of San Romano (1432) in the 1440s on three panel paintings. The individual parts of the triptych are today distributed among the Louvre in Paris, the Uffizi in Florence and the National Gallery in London.

Markus Prachensky saw the painting in the Uffizi at the age of 20 and was impressed by the accuracy of the painting technique and the strong colors. Soon after, he was able to admire the second painting in the Louvre. 15 years later he came face to face with the last part of the triptych in London, but it was not until 60 years after his encounter with the first painting that Prachensky decided to create the cycle „Battaglia di San Romano – Omaggio a Paolo Uccello“ in 2010.

The Battle of San Romano took place during the war between Florence and Lucca (1429-33). Florence had attacked Lucca in order to increase its land holdings. However, Lucca was supported by Siena and Milan and was able to resist. The Battle of San Romano took place throughout the day, which is why the lighting moods of the three parts of the triptych differ from each other.

The present painting „La Battaglia di San Romano – Firenze“ is inspired by the middle panel painting by Uccello, now in the Uffizi Gallery in Florence. Here Siena’s commander Bernardino della Carda is thrown from his saddle. The ocher background refers to the time of this combat action at noon. The numerous spears, which structure the composition of the Renaissance painting in a geometric, almost grid-like manner, particularly fascinated Prachensky and became the main motif of this dynamic series. With rapid powerful brushstrokes, Markus Prachensky reduced Uccello’s richly detailed composition to the essential, to its essence, and translated it into his unique pictorial language with gestural notes of emotion.