around 1450 -1523 · Città della Pieve, Perugia, Florence and Rome

Clear landscapes, serene figures and balanced perspectives make Pietro Perugino one of the great masters of the Umbrian Renaissance.

Pietro Vannucci, known as Perugino, was born around 1450 in Città della Pieve and died in 1523. His nickname comes from Perugia, the main center of his career. His exact formation remains debated, but the example of Piero della Francesca and Verrocchio's Florentine stay in the environment explain his interest in perspective, clear light and the drawing of figures. Between 1480 and 1482, he directed part of the decor of the Sistine Chapel, where The Handing Over of the Keys to Saint Peter became a model of monumental and readable space. Perugino organized powerful workshops in Florence and Perugia, capable of meeting an international demand for altarpieces, frescoes and devotional paintings. works with him around 1500 and retains his clarity, his distant landscapes and the gentleness of attitudes before transforming them. The Adoration of the Magi unfolds the groups before a deep horizon; The Annunciation constructs the encounter through architecture and distance; The Annunciation of Fano regains this calm with altar precision; The Holy Family tightens devotion to the exchange of glances. In Perugino, the figures breathe in an ordered world: blue hills, fine trees, luminous skies and converging floors create an almost musical peace. In Perugino, the figures breathe in an ordered world: blue hills, fine trees, luminous skies and converging floors create an almost musical peace. In Perugino, the figures breathe in an ordered world: blue hills, fine trees, luminous skies and converging floors create an almost musical peace. In Perugino, the figures breathe in an ordered world: blue hills, fine trees, luminous skies and converging floors create an almost musical peace. In Perugino, the figures breathe in an ordered world: blue hills, fine trees, luminous skies and converging floors create an almost musical peace. This language, admired in the 1490s, seems repetitive to certain contemporaries of the next generation. He does not remains no less essential to the diffusion of a harmonious ideal of the High Renaissance. The "Pietro Perugino" selection notably compares The Adoration of the Magi and The Annunciation. Its reading favors atmosphere.

Perugino makes perspective a form of peace: space opens, gestures slow down and the landscape gives the sacred story infinite breathing.