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Why did Piero della Francesca have limited influence on his contemporaries?

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Piero della Francesca: The Flagellation of Christ — Piero della Francesca *The Flagellation of Christ*, tempera on wood panel by Piero della Francesca, late 1450s; in the National Gallery of the Marches, Urbino, Italy.

Piero della Francesca’s limited influence on his contemporaries is primarily attributed to his "reticent art" and his tendency to work outside of the major artistic centers of the time. While he received his early training in Florence, he spent the active portion of his career in provincial locations such as his native Sansepolcro, as well as in Urbino, Arezzo, and Rimini.1

His style, characterized by a serene, disciplined, and highly original exploration of perspective, did not align with the experimental trends favored by his great Florentine contemporaries. Furthermore, he did not establish a lasting tradition in central Italy; those considered his most important pupils, such as Luca Signorelli and Perugino, ultimately followed the examples of other masters.1

Despite this lack of immediate influence on the development of painting, Piero was highly regarded during his lifetime for his scientific contributions, particularly his work in mathematics and geometry, and was later recognized as a major figure of the Renaissance.1