《圣罗马诺之战》是意大利画家乌切洛创作的木板油画，乌切罗创作过3幅《圣罗马诺之战》，集中在1455—1460年间完成，首次实验创作时的作品是在1455年完成的，现藏于英国国家美术馆，其余藏于美国佛罗伦萨乌菲齐博物馆，皆作于木板上。
画面中间的是佛罗伦萨军队司令尼克罗，他正在指挥士兵们战斗。他后面是一位旗手，他骑在马上拿着军旗，在旗手后面是很多士兵，他们形态各异。在画的底部，散落着折断的武器，战士的盔甲等，还有躺在地上死去的士兵。乌切罗借同一个题材研究透视关系，虽然对透视学的执著造成人物形象生动性之不足，但其研究成果对后世产生深远影响。
画面中间是骑着白马的佛罗伦萨军队司令尼克罗，他正在指挥士兵们战斗。他后面是一位年轻的旗手，他骑在马上拿着飘扬的军旗，由于除了尼克罗之外，他是最明显没有甲胄盖住脸的人，因此他显得非常突出。在旗手后面是很多全身装备盔甲的士兵，他们形态各异，有的拿着长枪，有的在吹着长长的号角。士兵上方的画面的交错的长矛构成的缝隙中有色彩华丽的圆形橘子，它们似乎要隐藏于栩栩如生的树叶中。在画面的右半部分，近处是几个正在激烈战斗的骑士，远处上方则可以看见零零落落的正在战斗的士兵。在画的底部，散落着折断的武器，战士的盔甲等，还有躺在地上死去的士兵。
该画作是乌切洛为了纪念佛罗伦萨战胜锡耶纳的1432年之战而创作的。乌切洛非常注意写生，而且对透视学非常的着迷，他为了更好地表现真实，几乎将一生的精力都奉献于当时还未有人深入钻研的透视学。但他一味孤立地研究在二度平面如何表现立体空间与人物的远近关系，观察人与物在与观者的视线呈不同角度时，应呈现何种状态，这便造成了他的局限性，在他的画作上也充分的显示出来。《圣罗马诺之战》就是他实验的首幅作品。
该图中右侧两个骑兵交战时的前后距离，地上散落盔甲和武器的透视位置，左侧集中的大量骑马人物前后关系，倒在地上的战士的透视缩短形象，背景与近景之问的透视距离，甚至连士兵长矛的不同角度都被画家作为透视的研究对象。由于画家过于追求透视法的表现，孤立地研究透视，因而使人物形象的生动性，面面的真实感都丧失不少，造成画面中人物形象显得刻板、生硬，缺乏立体感。
该画作画面的色彩先声夺人，它是深厚而浓郁的、炽烈而瑰丽的。在黑、赫、红、金、象牙色的交织中，在它的所穿插、呼应、均衡美学中，形成色相丰富的肢体语言。这种暖色调给人以历史感与庄严感。绘制的手法则体现了从二维度空间向三维度空间过渡的典型特征。
该画作的马的画法是在平衡中蕴涵着微妙的起伏，如同浮雕似的占据着视觉愉悦感的中心；人物则处理成高浮雕的状态，明暗转移浑然一体。在服饰的表达中又大量地以线描绘，远看隐藏于体积之中，近看见则勾勒得丝丝入扣；道具、服饰、盔甲、铜扣、花边、马尾、马鞍、花卉、旗帜、纹饰等，似平涂或晕染般的手，表达得细腻平实，色彩跳跃，它们是画面上最为生动跳跃部分，以亮丽的色彩充满动感，也是最能作为装饰性表达的有效细节；远景的山坡、树木、庄稼、小人、动物，叶子都描绘得一丝不苟。在具体的着色技法上。画面将平涂、丹培拉特有的小笔触，表现体积感的色调推移晕化，线条以及时间而带来的斑驳、脱色、各种肌理的韵味，组成了既单纯又丰富的视觉乐章。所有的形体的边缘轮廓，都是以硬边的形式处理，这种方式既强调了视觉的关系，又十分符合具有历史感的壁画的责任，而这种硬边处理加肌理表现又使装饰语言的单纯与丰富得到了统一。
乌切洛的这一面作是他追求实验所造成的缺陷，是当时探索绘画技法所不可避免的，但他的绘面实验，对于后世画家重视绘画的透视学是有一定意义的。绘画技法的改进正是在他们这些前人的失败基础上达到的。
乌切洛（1397—1475），意大利画家，出生于佛罗伦萨。由于所绘飞禽精致所以有“色鸟”之称，“乌切洛”即意大利语飞鸟之意。乌切洛以其开创性的艺术透视方法而闻名。他注重研究透视学，往往以数学方式去精确计算人物之间的空间远近关系，为此废寝忘食。
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The Battle of San Romano is a wooden oil painting created by Italian painter Uchelo. Uchelo has created three pieces of the Battle of San Romano, focusing on the 1455-1460 years. His first experimental work was completed in 1455. It is now in the British National Gallery of Art and the rest in the Uffizi Museum in Florence, USA. They are all made on wooden boards.
In the middle of the picture is Nicholo, commander of the Florence Army, who is directing the soldiers to fight. Behind him was a flag-bearer. He was riding on a horse with a flag. Behind the flag-bearer were many soldiers. They were of different shapes. At the bottom of the painting, there are broken weapons, armor of soldiers, and soldiers lying dead on the ground. Utero studied the perspective relationship on the same subject. Although his persistence in perspective caused the lack of vividness of characters, his research results had a far-reaching impact on future generations.
In the middle of the picture is Nicholas, commander of the Florentine Army on a white horse, who is directing the soldiers to fight. Behind him was a young flag bearer. He was riding on a horse with the flag flying. He stood out because he was the most obvious person with no armour to cover his face except Nicholo. Behind the flag bearer are many armored soldiers in different shapes, some with long guns and some with long horns. There are orange oranges in the cracks of the cross spears above the soldiers, which seem to be hidden in the vivid leaves. In the right half of the picture, several knights are fighting fiercely in the vicinity, and scattered soldiers can be seen above the distance. At the bottom of the painting, there are broken weapons, armor of soldiers, and soldiers lying dead on the ground.
The painting was created by Uchelo in memory of Florence's victory over Siena in 1432. Uchello paid great attention to sketching and was fascinated by perspective. In order to better show the truth, he devoted almost all his life to perspective, which had not been thoroughly studied at that time. But he blindly studied in isolation how to express the close and far relationship between the three-dimensional space and the characters on the second plane, and observed what state people and objects should present when they are in different angles with the viewer's vision, which caused his limitations, which also fully showed in his paintings. The Battle of San Romano was his first experiment.
In this picture, the distance between two cavalry on the right, the perspective position of armor and weapons scattered on the ground, the front-back relationship of a large number of horsemen concentrated on the left, the perspective of the fallen soldier shortens the image, the perspective distance between background and close-range questions, and even the different angles of the soldier's spear are studied as perspective by the painter. The object of study. Because the painter pursues the expression of perspective too much and studies perspective in isolation, the vividness of the character image and the reality of the face are lost a lot, resulting in the image of the characters in the picture appears rigid, rigid and lack of three-dimensional sense.
The color of the painting is first impressive. It is deep and rich, fiery and magnificent. In the interweaving of black, hegemonic, red, gold and ivory, in its interpolation, echo and balanced aesthetics, body language with rich colors is formed. This warm tone gives people a sense of history and dignity. The drawing method embodies the typical characteristics of the transition from two-dimensional space to three-dimensional space.
The horse in this painting contains delicate ups and downs in balance, occupying the center of visual pleasure like relief, while the figure is treated as a high relief state, which integrates light and shade. In the expression of clothing, a large number of lines are depicted, hidden in the volume from a distance, and delineated in close sight; props, clothing, armor, brass buttons, lace, ponytail, saddle, flowers, flags, decorations, etc., like flat or dizzy hands, expressing delicately and plainly, color jumping, they are the most on the screen. For the vivid jumping part, the bright color is full of dynamic feeling, and is also the most effective detail for decorative expression; the prospective hillsides, trees, crops, small people, animals, leaves are meticulously depicted. In the specific coloring techniques. The picture will be flat painting, some small brush strokes of Danperat, the performance of volume sense of tone shift halo, lines and time brought by mottling, decolorization, texture charm, constitute a simple and rich visual movement. The edge contours of all shapes are handled in the form of hard edges, which not only emphasizes the relationship between vision, but also conforms to the responsibility of murals with a sense of history. This kind of hard edge treatment plus texture performance unifies the simplicity and richness of decorative language.
This aspect of Uchello's painting is a defect caused by his pursuit of experiments, which is inevitable to explore painting techniques at that time. But his painting experiments have certain significance for future generations of painters to attach importance to the perspective of painting. The improvement of painting techniques is based on the failure of their predecessors.
Uchelo (1397 - 1475), Italian painter, was born in Florence. Because of the delicacy of the birds painted, it has the name of "colored bird", "Uchelo" means the Italian bird. Uchelo is famous for his pioneering artistic perspective. He pays attention to the study of perspective, and often calculates the spatial distances between characters in a mathematical way, thus forgetting to eat and sleep.
