In 1495, Jacopo de’ Barbari created a captivating portrait of the renowned mathematician and Franciscan friar, Luca Pacioli. This painting, featuring Pacioli alongside a student, is one of the most discussed artworks of its time, sparking debates not only about who painted it but also about the identities of the figures depicted. Pacioli, who was friends with legendary artists like Piero della Francesca and Leonardo da Vinci, stands confidently at a table filled with insightful tools of learning. He is believed to be demonstrating the eight propositions from Euclid’s Elements to his student, Guidobaldo da Montefeltro.
On the table lies a copy of Pacioli’s own work, “Summa de arithmetica, geometria, Proportioni et proportionalita,” published in Venice just a year earlier. The foreground reveals an engaging array of items that highlight Pacioli’s mathematical prowess, including tools like a protractor and compass, along with unique shapes like a dodecahedron and a glass rhombicuboctahedron, which draws attention to his studies in geometry. De’ Barbari expertly weaves a sense of intellectual energy into the composition, resembling the essence of a mathematical theorem.
One interesting detail is found in the bottom right corner: a piece of paper with a big fly resting on it. This clever touch adds a dash of irony, showcasing the artist’s skill. An inscription on the paper, possibly a signature with a date, has stirred much discussion among historians. While some argue it was added later, the intricacies of the painting suggest a thoughtful connection to both Pacioli and de’ Barbari’s shared intellectual world. Influences from other artists like Piero della Francesca and Bramante can also be seen in this work, revealing the rich artistic dialogue of the period. Though first noted in the inventories of the Palazzo di Urbino in 1631, the precise circumstances of the commission remain a mystery, yet it’s clear that the painting reflects the deep interests and personality of its celebrated subject.
