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 Pieta 124 oil on canvas


Pieta 124
Pieta 124
Painting ID::  6330 		  Oil on wood Pinacoteca, Vatican
  Oil on wood Pinacoteca, Vatican

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CRIVELLI, Carlo St Jerome and St Augustine dsfg oil on canvas


St Jerome and St Augustine dsfg
St Jerome and St Augustine dsfg
Painting ID::  6331 		  c. 1490 Tempera on wood, 187 x 72 cm Gallerie dell'Accademia, Venice
  c. 1490 Tempera on wood, 187 x 72 cm Gallerie dell'Accademia, Venice

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CRIVELLI, Carlo Virgin and Child dfg oil on canvas


Virgin and Child dfg
Virgin and Child dfg
Painting ID::  6332 		  1490s Tempera on panel Victoria and Albert Museum, London
  1490s Tempera on panel Victoria and Albert Museum, London

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CRIVELLI, Carlo Virgin and Child Enthroned sdf oil on canvas


Virgin and Child Enthroned sdf
Virgin and Child Enthroned sdf
Painting ID::  6333 		  around 1476 Panel, 106,5 x 55,3 cm Museum of Fine Arts, Budapest
  around 1476 Panel, 106,5 x 55,3 cm Museum of Fine Arts, Budapest

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CRIVELLI, Carlo Virgin and Child Enthroned around oil on canvas


Virgin and Child Enthroned around
Virgin and Child Enthroned around
Painting ID::  64696 		  1476 Panel, 106,5 x 55,3 cm Museum of Fine Arts, Budapest Crivelli was one of the busiest painters in Venice during the second half of the fifteenth century and was responsible for many altarpieces in small churches in Veneto and in the Marches. Adapting himself to the conservative taste of his patrons, he painted in an archaic style based on Gothic tradition; his Madonnas are usually frontally posed and seen against a gold background of Bysantine splendor. There is but little movement and few details from nature, the composition being solemn and strictly linear. Only the pure and sure design of the faces and the lavishly applied festoons of flowers and fruits testify to Crivelli's being a master of the fifteenth century, a Renaissance artist with a style of his own. The "Virgin and Child Enthroned" was formerly the central panel of a polyptych in the church of San Domenico at Ascoli Piceno. The representaion of saints from the wings are in the National Gallery in London. *** Keywords: ************* Author: CRIVELLI, Carlo Title: Virgin and Child Enthroned, 1451-1500, Italian , painting , religious
  1476 Panel, 106,5 x 55,3 cm Museum of Fine Arts, Budapest Crivelli was one of the busiest painters in Venice during the second half of the fifteenth century and was responsible for many altarpieces in small churches in Veneto and in the Marches. Adapting himself to the conservative taste of his patrons, he painted in an archaic style based on Gothic tradition; his Madonnas are usually frontally posed and seen against a gold background of Bysantine splendor. There is but little movement and few details from nature, the composition being solemn and strictly linear. Only the pure and sure design of the faces and the lavishly applied festoons of flowers and fruits testify to Crivelli's being a master of the fifteenth century, a Renaissance artist with a style of his own. The "Virgin and Child Enthroned" was formerly the central panel of a polyptych in the church of San Domenico at Ascoli Piceno. The representaion of saints from the wings are in the National Gallery in London. *** Keywords: ************* Author: CRIVELLI, Carlo Title: Virgin and Child Enthroned, 1451-1500, Italian , painting , religious

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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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