All CRIVELLI, Carlo Oil Paintings

Italian Early Renaissance Painter, ca.1430-1495 He produced many large, multi-partite altarpieces in which his highly charged, emotional use of line, delight in detail, decoration and citric colours, often set against a gold ground, convey an intensity of expression unequalled elsewhere in Italy. His mastery of perspective was also used for dramatic impact. As he worked in isolation in the Marches, his style only had local influence. In the 19th century,
 
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CRIVELLI, Carlo Annunciation with St Emidius fg oil on canvas


Annunciation with St Emidius fg
Annunciation with St Emidius fg
Painting ID::  6324 		  1486 Oil on wood transferred to canvas, 207 x 146,5 cm National Gallery, London
  1486 Oil on wood transferred to canvas, 207 x 146,5 cm National Gallery, London

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CRIVELLI, Carlo Coronation of the Virgin dgfd oil on canvas


Coronation of the Virgin dgfd
Coronation of the Virgin dgfd
Painting ID::  6325 		  1493 Panel, 225 x 255 cm Pinacoteca di Brera, Milan
  1493 Panel, 225 x 255 cm Pinacoteca di Brera, Milan

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CRIVELLI, Carlo Lamentation over the Dead Christ fdg oil on canvas


Lamentation over the Dead Christ fdg
Lamentation over the Dead Christ fdg
Painting ID::  6326 		  1485 Tempera on panel Museum of Fine Arts, Boston
  1485 Tempera on panel Museum of Fine Arts, Boston

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CRIVELLI, Carlo The Madonna of the Taper dfg oil on canvas


The Madonna of the Taper dfg
The Madonna of the Taper dfg
Painting ID::  6327 		  Panel, 218 x 75 cm Pinacoteca di Brera, Milan
  Panel, 218 x 75 cm Pinacoteca di Brera, Milan

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CRIVELLI, Carlo Madonna and Child; St Francis of Assisi dfg oil on canvas


Madonna and Child; St Francis of Assisi dfg
Madonna and Child; St Francis of Assisi dfg
Painting ID::  6328 		  1471-72 Wood, 183 x 59,5 cm (each) Mus??es Royaux des Beaux-Arts, Brussels
  1471-72 Wood, 183 x 59,5 cm (each) Mus??es Royaux des Beaux-Arts, Brussels

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     CRIVELLI, Carlo
     Italian Early Renaissance Painter, ca.1430-1495 He produced many large, multi-partite altarpieces in which his highly charged, emotional use of line, delight in detail, decoration and citric colours, often set against a gold ground, convey an intensity of expression unequalled elsewhere in Italy. His mastery of perspective was also used for dramatic impact. As he worked in isolation in the Marches, his style only had local influence. In the 19th century,

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