|
[[Skeudenn:Paolo di Dono, dit Uccello - La bataille de San Romano la contre-attaque de Micheletto da Cotignola, 1455.jpg|thumb|400px| [[Emgann San Romano]]: :unan eus an teir fanell aet a-skign dre ar bed<br />''Enepstourmad Micheletto da Cotignola'' (1455), [[Mirdi al Louvre]], [[Pariz]].]]
[[Skeudenn:Uccello Portrait of a Lady MET.jpg|250px|thumb|right|Poltred un itron (war-dro 1450)<br /><small>[[Metropolitan Museum of Art]], [[New York]]</small>]]
'''Paolo di Dono di Paolo''', lesanvet '''Paolo Uccello''' ([[Firenze]], [[1397]] - Firenze, [[1475]]), zo ul livour ha matematikour italian eus ar c'hentañ [[Azginivelezh]] ([[Quatrocento]]) , mab da Dono di Paolo, surjian ha barver, ha da Antonia di Giovanni del Beccuto.
Labourat a rae kenañ war ar [[pellwelad]] en arz. Hervez [[Giorgio Vasari]] , en e levr [[Le Vite]], e oa deuet da vout e sorc'henn . Ar pellwelad a implije da grouiñ donder en e daolennoù, ha n'eo ket , evel tud all e amzer, da gontañ istorioù.
Labourat a rae kenañ war ar [[pellwelad]] en arz. Hervez [[Giorgio Vasari]], en e levr ''[[Le Vite]]'', e oa deuet da vout e sorc'henn. Ar pellwelad a implije da grouiñ donder en e daolennoù, ha n'eo ket, evel tud all e amzer, da gontañ istorioù.
== E vuhez ==
Paolo Uccello zo ul livour eus ar c'h-[[Quattrocento]] en deus merket istor al liverezh dre vestroniañ reolennoù nevez an [[diabellwelad]]. Deskiñ a reas ar vicher e ti [[Lorenzo Ghiberti]] entre [[1407]] ha [[1414]] pe seik, hag eno e reas anaoudegezh gant livourien brudet evel [[Masolino da Panicale|Masolino]], [[Donatello]] ha [[Michelozzo]].
Labourat a ra war-dro peurechuiñ chapel-vadeziñ Firenze, gant Michelozzo.
== Pennadoù kar ==
<!--
'''Paolo Uccello'''
Après avoir reçu les formations de peintre, sculpteur, orfèvre et architecte, il rejoint en [[1424]] la ''Compagnie des peintres de San Luca'' et sera appelé un an plus tard à refaire les mosaïques de la [[Basilique Saint-Marc de Venise|basilique de San Marco]] ([[Venise]]) détruites par un incendie. En [[1432]] c'est à la réalisation du dôme de l'église ''Santa Maria del Fiore'' qu'il travaille. Il reçoit sa première commande monumentale en [[1436]] et réalise donc à fresque le ''Monument équestre'' , dédié au condottiere anglais [[John Hawkwood]]. Tout au long de sa vie, il fait de ses recherches sur la [[perspective]] une vraie passion allant parfois jusqu'à l'obsession, ce qui lui vaudra les critiques de ses contemporains et son surnom, ''Uccello'' ({{Citation|oiseau}}), sans doute pour ses lubies et son étourderie.<br/>Il utilise souvent le raccourci pour traiter les formes et joue de cette technique jusqu'à donner un caractère fantastique à certaines de ses œuvres. <br/>
D'après les écrits (''[[Le Vite]]'') de [[Giorgio Vasari]], Paolo Uccello finit ses jours en [[1475]] « seul, excentrique, mélancolique et pauvre ».
==Œuvres==
===Principales===
* ''Saint Georges et le dragon'' (entre 1439 et 1440, détrempe sur bois, 52 cm × 90 cm, ''National Gallery'', Londres, Angleterre)
* ''Le Déluge'' (1446-1448, ''Chiostro Verde de la Santa Maria Novella'', Florence, Italie) : cette peinture murale est une expérience de Paolo Uccello sur la perspective où il va chercher les limites de la perspective en l'accentuant à son maximum.
* La ''[[Bataille de San Romano]]'' (détrempe sur peuplier, 182 cm × 320 cm)<br/>C'est une œuvre en trois panneaux indépendants exécutée entre [[1456]] et [[1460]] et l'une des plus connues de Paolo Uccello. Commandée par les [[Médicis]], cette peinture représente une scène de l'histoire de [[Florence]] datant de [[1432]]. Les trois épisodes de cette bataille sont aujourd'hui répartis dans trois pays :
** en Italie au [[Palais des Offices]] de Florence,
** en Angleterre à la [[National Gallery]] de [[Londres]]
** en France au [[Musée du Louvre|musée du Louvre]] de [[Paris]].
*''La [[Thébaïde (Égypte)|Thébaïde]]'' (ou ''Scene della vita di santi e di alcuni monaci'') - [[Palais des Offices]], Florence - peint entre 1450 et 1475, est une large fresque représentant la vie de saints dans leur activité monacale<ref>Cette œuvre a connu ces dernières années un regain d'intérêt insolite, une certaine littérature affirmant qu'il renfermait la représentation d'un [[objet volant non identifié]]. Les historiens de l'art eurent tôt fait de démontrer que l'objet en question n'était qu'une simple coiffe de cardinal, le chapeau cardinalice, le ''galero'' rouge à houppes</ref>.
===Liste chronologique===
* ''Annonciation'' (env. 1420–1425) - Ashmolean Museum, [[Oxford]]
* ''La Création et la Chute'' (env. 1424–1425) - Chiostro Verde, [[église Santa Maria Novella]], Florence
* ''Adoration des mages'' (env. 1431–1432) - Staatliche Kunsthalle, [[Karlsruhe]]
* ''Saint Georges et le dragon'' (env. 1431) - [[National Gallery of Victoria]], [[Melbourne]]
* Polyptyque (env. 1433) - Museo Arcivescovile di Castello, Florence
* [[Fresque]]s de la chapelle dell' Assunta (env. 1434–1435) - Duomo, Prato
* ''Nonnes avec deux enfants '' (env. 1434–1435) - Collection Contini-Bonacosi, Florence
* ''[[Monument équestre de Sir John Hawkwood]]'' ([[Giovanni Acuto]]) (env. 1436), fresque - [[Santa Maria del Fiore|Duomo]], Florence
* ''[[Bataille de San Romano]]'', trois panneaux dispersés entre la National Gallery, le musée du Louvre et les Offices
* ''Saint Georges et le dragon'' (env. 1439–1440) - [[Musée Jacquemart-André]], Paris
* Panneau d'horloge avec prophètes et évangélistes (1443) - Duomo, Florence
* ''Résurrection'' (1443-1444) - vitrail, Duomo, Florence
* ''Nativité'' (1443-1444) - stained glass window, Duomo, Florence
* ''Histoire de Noé'' (env. 1447) - Chiostro Verde, Santa Maria Novella, Florence
* ''Scènes de la vie monastique'' (env. 1447–1454) - [[San Miniato al Monte]], Florence
* ''Saint Georges et le dragon '' (env. 1450-55) - National Gallery, London
* ''Crucifixion'' (env. 1457–1458) - Thyssen-Bornemisza Collection, Madrid
* ''Vie des saints pères'' (env. 1460–1465) - [[Galleria dell'Accademia de Florence]]
* ''Miracle de la profanation de l'hostie'' (1467–1468) - prédelle, Galleria Nazionale delle Marche, palais ducal, [[Urbino]])
* ''Chasse dans la forêt'' (env. 1470) - [[Ashmolean Museum]], Oxford
-->
=== Pennadoù kar ===
* [[Listenn livourien Ofisoù Firenze]]
{| align="left" style="background-color:#C0E0F0"
|•
|Meneget eo Paolo Uccello gant [[Giorgio Vasari]] en e levr ''[[Le Vite]]'' : <br /> PagePajenn ?? - embannadur 1568
| [[Skeudenn:036 le vite, paolo uccelo.jpg|center|80 px]]
|}
{{commonscatclr|left}}
<!--
{{Quote_box
|quote=Uccello's wife told people that Paolo used to stay up all night in his study, trying to work out the vanishing points of his perspective, and that when she called him to come to bed he would say: "Oh what a lovely thing this perspective is!"
|source=Giorgio Vasari, ''The Lives of the Most Excellent Painters, Sculptors, and Architects''
|width=300px |align=left }}
His best known works are the [[The Battle of San Romano|three paintings]] representing the [[battle of San Romano]] (for a long time these were wrongly entitled the "Battle of Sant' Egidio of 1416").
Paolo worked in the [[International Gothic|Late Gothic]] tradition, and emphasized colour and pageantry rather than the Classical realism that other artists were pioneering. His style is best described as idiosyncratic, and he left no school of followers. He has had some influence on twentieth century art (including the [[New Zealand]] painter [[Melvin Day]]) and literary criticism (e.g., in the "Vies imaginaires" by [[Marcel Schwob]] or "Uccello le poil" by [[Antonin Artaud]]).
==Life==
The sources for Paolo Uccello’s life are few: [[Giorgio Vasari]]’s biography, written 75 years after Paolo’s death, and a few contemporary official documents.
Uccello was probably born in Florence in 1397. His tax declarations for some years indicate that he was born in 1397, but in 1446 he claimed to be born in 1396.<ref>Borsi, Franco & Stefano. ''Paolo Uccello''. pp. 15, 34. London: Thames & Hudson, 1994.</ref> His nickname ''[[:wiktionary:uccello|Uccello]]'' came from his fondness for painting birds. His father, Dono di Paolo, was a [[barber|barber-surgeon]] from [[Pratovecchio]] near Arezzo; his mother’s name was Antonia.
At the age of ten, Paolo was apprenticed to the famous sculptor [[Lorenzo Ghiberti]], whose workshop was the premier centre for Florentine art at the time. Ghiberti's late-Gothic, narrative style and sculptural composition greatly influenced Paolo. It was also around this time that Paolo began his lifelong friendship with [[Donatello]]. In 1414 Uccello was admitted to the [[painters' guild]] ''Compagnia di San Lucca'' and just one year later, in 1415, he joined the official painter's guild of Florence ''Arte dei Medici e degli Speziali''.
According to [[Vasari]], Paolo's first painting was a Saint Anthony between the saints Cosmas and Damianus, a commission for the hospital of Lelmo. Next he painted two figures in the convent of Annalena. Shortly afterwards he painted three [[fresco]]es with scenes from ''the life of [[Francis of Assisi|Saint Francis]]'' above the left door of the [[Santa Trinita]] church. For the [[Santa Maria Maggiore di Firenze|Santa Maria Maggiore]] church he painted a fresco of the [[Annunciation]]. In this fresco, he painted a large building with columns in perspective. Vasari writes that people thought this was a great and beautiful achievement.
Paolo painted ''the Lives of the [[Church Fathers]]'' in the cloisters of the church of [[San Miniato]], on a hill overlooking Florence. For this fresco he used unusual colours (blue pastures, red bricks and different colours for the buildings) as a protest against his monotonous meals served by the abbot: cheese pies and cheese soup. In the end Paolo felt so miserable that he ran away. He only finished the job after the abbot promised to serve him normal meals.
[[Image:Paolo Uccello 006.jpg|thumb|right|250px|<small>(Top) : ''Creation of the Animals'' and ''Creation of Adam''; (Below) ''Creation of Eve'' and the ''Expulsion''</small>]]
Paolo was asked to paint a number of scenes of distempered animals for the house of the Medici. His depiction of a fierce lion fighting with a venom-spouting snake was especially appreciated by Vasari. Ucello loved to paint animals and he kept a large number of pictures of all kinds of animals, especially birds, at home. Because he was so fond of birds, he was aptly nicknamed Paolo Uccelli (Paul of the birds).
By 1424 Paolo was earning his own living as a painter. In that year he painted episodes of the ''Creation and expulsion'' for the Green Cloister (''Chiostro Verde'') of [[Santa Maria Novella]] in Florence (now badly damaged), proving his artistic maturity. Again, he was able to paint in a lively manner a large number of animals. As he succeeded in painting trees in their natural colours, in contrast with many of his predecessors, he began to acquire a reputation for painting landscapes. He continued with scenes from the [[Deluge (mythology)|Deluge]], the story of [[Noah's Ark]], Noah's sacrifice and Noah's drunkenness. These scenes brought him great fame in Florence.
Around this time he was taught geometry by [[Manetti]].
[[Image:Paolo Uccello 044.jpg|thumb|left|200px|''[[Funerary Monument to Sir John Hawkwood]]'']]
In 1425 Uccello travelled to [[Venice]], where he worked on the mosaics for the façade of [[St Mark's Basilica|San Marco]] (all these works have been lost).
Some suggest he visited [[Rome]] with his friend Donatello before returning to Florence in 1431. He also painted some frescoes in the [[Prato Cathedral]] and [[Bologna]].
In 1432 the Office of Works asked the Florentine ambassador in Venice to enquire after Uccello’s reputation as an artist. Uccello remained in Florence for most of the rest of his life, executing works for various churches and patrons, most notably the [[Santa Maria del Fiore|Duomo]]. In 1436 he was given the commission for the monochromatic fresco of ''Sir [[John Hawkwood]]''. In this equestrian monument he showed his keen interest in [[perspective (graphical)|perspective]]. The [[condottiere]] and his horse are presented as if the fresco was a sculpture, seen from below.
If, as is widely thought, he is the author of the frescoes ''Stories of the Virgin'' and ''Story of Saint Stephen'' in the Cappella dell'Assunta, Florence, then he would have visited nearby [[Prato]] sometime between 1435 and 1440.
In 1443 he painted the figures on the clock of the Duomo. In the same year and in 1444 he designed a few stained glass windows for the same church. In 1444 he was also at work in [[Padua]], and he travelled to Padua again in 1445 at Donatello’s invitation.
[[Image:Paolo Uccello 047b.jpg|thumb|225px|right|A gothicizing tendency of Uccello's art is nowhere more apparent than in ''Saint George and the Dragon'' (c. 1456).]]
[[Image:Paolo Uccello 050.jpg|thumb|250px|''The Princess and the Dragon'', Paolo Uccello, c. 1470, a classic image of a damsel in distress.]]
Back in Florence in 1446, he painted the ''Green Stations of the Cross'', again for the cloister of the church Santa Maria Novella. Around 1447–1454 he painted ''Scenes of Monastic Life'' for the church [[Basilica di San Miniato al Monte|San Miniato al Monte]], Florence.
Around 1450–1456 he painted his three most famous paintings ''The Battle of San Romano'', the victory of the Florentine army over the Sienese in 1432, for the Palazzo Medici in Florence. The extraordinarily [[Perspective (graphical)|foreshortened]] forms extending in many planes accentuate Uccello's virtuosity as a draftsman, and provides a controlled visual structure to the chaos of the battle scene.
[[Image:Uccello Florentine Troops.jpg|left|thumb|350px|Paolo Uccello. ''Niccolò Mauruzi da Tolentino at the Battle of San Romano'', c. 1438–1440. Egg tempera with walnut oil and linseed oil on poplar. 181.6 x 320 cm. London: [[National Gallery, London|National Gallery]].]]
Uccello was married to Tomassa Malifici by 1453, because in that year Donato (named after Donatello) was born, and in 1456 his wife gave birth to Antonia.
In 1465 Uccello was in [[Urbino]] with his son Donato, where he was engaged until 1469 working for the Confraternity of Corpus Domini, a brotherhood of laymen. He painted part of the Corpus Domini [[predella]] with the ''Miracle of the Profaned Host.'' (The main panel was finished by [[Joos van Wassenhove|Justus van Ghent]] with a scene from the "Communion of the Apostles" in 1474.) Ucello's predella comprises six scenes, with meticulous naturalistic interiors, related to the antisemitic myth of [[host desecration]], based on a supposed event in Paris in 1290. It was an effort by Duke [[Frederick of Montefeltro]] of Urbino to vilify the Jews, while tolerating somewhat Jewish activity.<ref>[http://findarticles.com/p/articles/mi_m0422/is_4_85/ai_111738112/pg_1 Katz, Dana E., ''The contours of tolerance: Jews and the Corpus Domini Altarpiece in Urbino''] The Art Bulletin:85 (December 2003)</ref> Not all these scenes are unanimously attributed to Paolo Uccello.[[Image:Uccelo host burning.jpg|thumb|left|350px|A scene in Paolo Uccello's Corpus Domini [[predella]] (c. 1465-1468), set in a Jewish pawnbroker's home. Blood in the background emanates from [[Host (Holy Communion)|the Host]], which the moneylender has attempted to cook, and seeps under the door. This story first entered the Italian literary tradition via [[Giovanni Villani]] (c. 1280–1348) and his ''[[Nuova Cronica]]''.]]
[[Image:Uccello mazzocchio2.jpg|thumb|160px|right|Above: Painting of a [[mazzocchio]] in [[The Battle of San Romano]], c. 1435-1440.<br>Below: Perspective study of a [[torus]], c. 1430-1440.]]
In his Florentine tax return of August 1469 he declared: “I find myself old and ailing, my wife is ill, and I can no longer work.” In his last years, he was a lonesome, forgotten man, afraid of hardship in life.
[[Image:Paolo Uccello 054.jpg|thumb|right|Portion of Paolo Uccello's ''The Hunt'' ([[Ashmolean Museum]])]]
His last known work is ''[[The Hunt in the Forest|The Hunt]]'', c. 1470.
He made his testament on 11 November 1475 and died shortly afterwards at the age of 78 on 10 December 1475 at the hospital of Florence. He was buried in his father’s tomb in the Florentine church of [[Santo Spirito, Florence|Santo Spirito]].
With his precise, analytical mind he tried to apply a scientific method to depict objects in three-dimensional space. In particular, some of his studies of the perspective foreshortening of the [[torus]] are preserved, and one standard display of drawing skill was his depictions of the [[mazzocchio]].<ref>Emmer, Michele. "Art and Mathematics: The Platonic Solids." Leonardo 15(4): 277-282 (Autumn, 1982).</ref> The perspective in his paintings has influenced famous painters such as [[Piero della Francesca]], [[Albrecht Dürer]] and [[Leonardo da Vinci]], to name a few.
His daughter '''Antonia Uccello''' (1446–1491) was a [[Carmelite]] nun, whom [[Giorgio Vasari]] called "a daughter who knew how to draw". She was even noted as a "pittoressa", a paintress, on her death certificate. Her style and her skill remains a mystery as none of her work is extant.
==Works==
[[John Pope-Hennessy|Pope-Hennessy]] is far more conservative than the Italian authors: he attributes some of the works below to a "Prato Master" and a "Karlsruhe Master". Most of the dates in the list (taken from Borsi and Borsi) are derived from stylistic comparison rather than from documentation.
[[Image:Firenze.Duomo.clock.JPG|thumb|right|250px|Clock in the Duomo, Florence.]]
*''Annunciation'' (c. 1420–1425) -<small> Ashmolean Museum, [[Oxford]]</small>
*''Creation and Fall'' (c.1424–1425) -<small> Lunette and lower section, Chiostro Verde, [[Basilica di Santa Maria Novella|Santa Maria Novella]], Florence</small>
*''Adoration of the Magi'' (c. 1431–1432) -<small> Staatliche Kunsthalle, [[Karlsruhe]]</small>
*''St George and the Dragon'' (c. 1431) -<small> [[National Gallery of Victoria]], [[Melbourne]]</small>
*''Quarate Predella'' (c. 1433) -<small> Museo Arcivescovile di Castello, Florence</small>
*''Frescoes in the Capella dell' Assunta'' (c. 1434–1435) -<small> [[Cathedral of Prato|Duomo]], Prato</small>
*''Nun-Saint with Two Children'' (c.1434–1435) -<small> Contini-Bonacosi Collection, Florence</small>
*''[[Funerary Monument to Sir John Hawkwood]]'' (c. 1436) -<small> [[Santa Maria del Fiore|Duomo]], Florence</small>
*''[[The Battle of San Romano]]'', consisting of:
:*''Battle of San Romano: Niccolò da Tolentino'' (c. 1450–1456) -<small> [[National Gallery, London]]</small>
:*''Battle of San Romano: Bernadino della Ciarda unhorsed'' (c. 1450–1456) -<small> [[Galleria degli Uffizi]], Florence</small>
:*''[[Battle of San Romano: Micheletto da Cotignola]]'' (c.1450) -<small> [[Musée du Louvre]], Paris</small>
*''St George and the Dragon'' (c. 1439–1440) -<small> [[Musée Jacquemart-André]], Paris</small>
*''Clock Face with Four Prophets/Evangelists'' (1443) -<small> Duomo, Florence</small>
*''Resurrection'' (1443-1444) -<small> [[stained glass]] window, Duomo, Florence</small>
*''Nativity'' (1443-1444) -<small> stained glass window, Duomo, Florence</small>
*''Story of Noah'' (c. 1447) -<small> lunette and lower section, Chiostro Verde, Santa Maria Novella, Florence</small>
*''Scenes of Monastic Life'' (c. 1447–1454) -<small> [[Basilica di San Miniato al Monte|S. Miniato al Monte]], Florence</small>
*''[[Saint George and the Dragon (Uccello)|Saint George and the Dragon]]'' (c. 1450-55) -<small> National Gallery, London</small>
*''Crucifixion'' (c. 1457–1458) -<small> Thyssen-Bornemisza Collection, Madrid</small>
*''Life of the Holy Fathers'' (c. 1460–1465) -<small> [[Accademia dell'Arte del Disegno|Accademia]], Florence</small>
*''Miracle of the Profaned Host'' (1467–1468) -<small> [[predella]], Galleria Nazionale delle Marche, [[Palazzo Ducale, Urbino|Palazzo Ducale]], [[Urbino]])</small>
*''[[The Hunt in the Forest]]'' (c. 1470) -<small>- [[Ashmolean Museum]], Oxford </small>
==References==
{{reflist}}
==See also==
{{commonscat|Paolo Uccello}}
*[[List of painters]]
*[[List of Italian painters]]
*[[List of famous Italians]]
*[[Renaissance painting]]
*[[Italian Renaissance]]
*[[History of painting]]
*[[Western painting]]
{{DEFAULTSORT:Uccello, Paolo}}
[[Category:Italian painters]]
[[Category:Tuscan painters]]
[[Category:Italian Renaissance XV century painters]]
[[Category:People from Florence]]
[[Category:1397 births]]
[[Category:1475 deaths]]
-->
== Lennadurezh ==
* [[Giorgio Vasari]], [[Le Vite]]; e saozneg: ''Lives of the Artists, Part 1''. Penguin Classics, 1965.
* D'Ancona, Paola. ''Paolo Uccello''. New York: McGraw Hill, 1961.
* [http://www.vqronline.org/viewmedia.php/prmMID/7377 Barolsky, Paul. "The Painter Who Almost Became a Cheese" ''Virginia Quarterly Review'', 70/1 (Winter 1994).]
* Carli, Enzo. ''All the Paintings of Paolo Uccello''. The Complete Library of World Art. London: Oldbourne, 1963. Troet diwar an italianeg.
* Paolieri, Annarita. ''Paolo Uccello, Domenico Veneziano, Andrea del Castagno''. Library of Great Masters. New York: SCALA/Riverside, 1991.
* Pope-Hennessy, John. ''Paolo Uccello: Complete Edition''. 2nd ed. London: Phaidon, 1969. (the other important English-language monograph)
* {{cite journal| author = Marilyn Aronberg Lavin| title=The Altar of Corpus Domini in Urbino: Paolo Uccello, Joos Van Ghent, Piero della Francesca|journal= Art Bulletin|volume= 49|year=1967|pages= 1–24| doi=10.2307/3048425}}
* James Bloedé, ''Paolo Uccello et la représentation du mouvement : regards sur La bataille de San Romano'', Paris, École nationale supérieure des beaux-arts, " Espaces de l'art ", réédition 2006. {{ISBN|2840560399}}
* [[Jean-Louis Schefer]], ''Le déluge, Paolo Uccello'', Paris, POL, 1999. {{ISBN|2867446767}}
== Filmadurezh ==
* Video : ''Vacarmes en Toscane, Paolo Uccello'', savet gant [[Alain Jaubert]], en dastumad [[Palettes]]. Diwar-benn al livour dre vras, diwar-benn ''Emgann San Romano'' dreist-holl.
== Liammoù diavaez ==
{{commonscat}}
* [http://easyweb.easynet.co.uk/giorgio.vasari/uccello/uccello.htm Excerpts from Vasari's Life of Paolo Uccello]
* [http://wwweasyweb.wgaeasynet.huco.uk/frames-egiorgio.html?/bio/uvasari/uccello/biographuccello.html Web Gallery of Art: Paolo Uccellohtm]
* [http://www.wga.hu/frames-e.html?/bio/u/uccello/biograph.html]
* [http://www.mega.it/eng/egui/pers/pucc.htm Florence Art Guide: Paolo Uccello]
* [http://www.paolouccello.org www.paolouccello.org - Works by Paolo Uccello]
* [http://www.fionline.it/paolouccello/ Paolo Uccello Homepage] (in Italian)
* [http://www.georgehart.com/virtual-polyhedra/uccello.html Paolo Uccello's Polyhedra]
* [http://rsparlourtricks.blogspot.com/2005/12/getting-some-perspective.html Ron Schuler's Parlour Tricks: Getting Some Perspective]
{{DEFAULTSORT:Uccello, Paolo}}
[[Rummad:Livourien italian ar XVIvet kantved]]
| 