Taiteilija
Syntynyt Venetsia, Italia
nuoruus ja taiteellinen koulutus
Italialainen renessanssimaalari Carlo Crivelli syntyi Venetsiaan noin vuosina 1430–1435. Hän kasvoi maalaajaperheessä ja sai taiteellisen muotonsa Venetsiassa sekä Paduassa. Uskotaan, että Crivellin varhaiset opit tapahtuivat Jacobello del Fioren alaisuudessa, joka oli vielä toiminnassa vuonna 1ään36. Hän opiskeli myös Venetsian Vivarinin koulussa.
ura ja tyyli
Crivelli vietti nuoruusvuotensa Veneto-alueella, missä hän imi vaikutteita Vivarinilta, Squarcionelta ja Mantegna. Vuoteen 1458 mennessä hän jätti Veneton ja vietti suurimman osan urastaan Anconan maakunnassa. Täällä hän kehitti omintakeisen tyylin, joka eroaa selvästi hänen venetsialaisen aikalaisensa, Giovanni Bellinin, tyylistä. Crivellin teoksia leimaa konservatiivinen myöhäisgotiikan koristeellisuus, jolle on ominaista lineaarisuus, äärimmäinen yksityiskohtien tarkkuus sekä silmänlumetta luova "trompe l'oeil" -tekniikka.
merkittävät teokset ja yhteistyö
* Carlo Crivellin maalaus "Madonna ja lapsi valtaistuimella" (106 x 55 cm, Budapestin taidemuseo, Unkari) on hänen tyylinsä erinomainen esimerkki. Hän teki useita yhteistyöprojekteja nuoremman veljensä Vittorio Crivellin kanssa. Pietro Alemanno, maalaaja joka muutti Anconan maakuntaan Saksasta tai Itävallasta, oli hänen oppilaansa ja yhteistyökumppaninsa.
museot ja kokoelmat
* Milanossa, Italiassa sijaitseva Pinacoteca di Brera esittelee useita Crivellin teoksia, mukaan lukien "Pietà" (128 x 241 cm). * Venetsiassa, Italiassa sijaitseva Museo San Giovanni in Bragora pitää yllään kokoelmaa eri aikakausien ja tyylien taideteoksia, joista osa on liitetty Crivelliin.
katso Carlo Crivellin teoksia AllPaintingsStore.com-sivustolla
tutustu Jacopo Robustin teoksiin AllPaintingsStore.com-sivustolla
lue lisää Carlo Crivellistä Wikipediasta
Crivellin perintö jatkaa inspiroimista taiteen ystäviä ja tutkijoita, ja hänen työnsä säilyy todistuksena myöhäisgotiikan koristeellisen herkkyyden kestävästä voimasta.
Museo
Näytteillä paikassa Oxford, Yhdistynyt kuningaskunta
A Chronicle of Wonders: Unveiling the Ashmolean Museum’s Enduring Legacy
Nestled within the venerable walls of Oxford University, the Ashmolean Museum isn't merely a collection of artifacts; it’s a vibrant testament to human curiosity and artistic expression spanning nearly six million years. Founded in 1678 by the eccentric antiquarian Elias Ashmole – a man driven by an insatiable thirst for the world’s treasures – the museum began as his personal cabinet of curiosities, a dazzling assemblage of Roman coins, Egyptian mummies, and medieval armor. This initial impulse to gather the extraordinary has blossomed into one of Britain's oldest and most distinguished public museums, a place where the echoes of ancient civilizations mingle with the brilliance of Renaissance masters and the provocative energy of contemporary art. The Ashmolean’s story is inextricably linked to Oxford itself, evolving from a modest room on Broad Street to its magnificent current form – a harmonious blend of Victorian grandeur and modern innovation.
The heart of the Ashmolean lies in its unparalleled Egyptian collection, a journey through time and belief. Here, you'll encounter breathtaking sarcophagi adorned with intricate hieroglyphs, each telling a story of life, death, and the afterlife. Vibrant tomb paintings offer glimpses into daily life along the Nile – scenes of farmers tending their fields, artisans crafting exquisite jewelry, and elaborate funerary rituals designed to ensure passage into eternity. Beyond these monumental displays, the museum reveals the profound beliefs and practices of this ancient civilization through everyday artifacts: tools that shaped their world, delicate jewelry reflecting their status, and pottery bearing witness to their daily routines. Equally captivating is the museum’s holdings in Near Eastern art, showcasing monumental Assyrian reliefs depicting royal processions and epic battles – a powerful reminder of empires that shaped the course of human history. Babylonian cylinder seals, bearing intricate narratives of mythology and administration, offer a delicate yet profound window into the complexities of ancient governance.
Renaissance Reforged: A Celebration of Detail and Humanism
Beyond antiquity, the Ashmolean boasts a remarkable collection of European art spanning the Middle Ages through the present day. The 17th-century Dutch and Flemish paintings are particularly celebrated, with masterpieces by Frans Hals and Jan van Eyck illuminating the meticulous detail and vibrant colors characteristic of the Renaissance. These artists weren’t simply depicting scenes; they were dissecting light, shadow, and texture with scientific precision, blending observation with humanist aesthetics. The Daisy Linda Ward Collection of still life paintings stands as a testament to this artistic movement’s unique approach – a captivating exploration of the beauty found in everyday objects, rendered with astonishing realism and symbolic depth. The Pre-Raphaelite Gallery is another highlight, showcasing the revolutionary vision of artists like Dante Gabriel Rossetti, William Holman Hunt, and John Everett Millais who sought to recapture the beauty and spiritual depth of earlier artistic traditions, drawing inspiration from medieval art and literature. They rejected the conventions of the Renaissance, yearning for a return to simpler forms and a more profound connection with nature and faith.
Architectural Harmony: A Dialogue Between Eras
The Ashmolean’s physical space is as compelling as its collection, a testament to thoughtful design and historical preservation. The original structure, completed between 1841 and 1845 under the direction of Charles Cockerell, embodies the architectural sensibilities of the Victorian era – a grand Neo-Classical façade with imposing columns and symmetrical proportions that immediately evoke a sense of scholarly tradition. This deliberate choice reflected the museum’s mission to foster intellectual pursuits. However, the building's story takes an even more remarkable turn with the addition of the contemporary extension, designed by Rick Mather Architects. This striking structure, seamlessly integrated into the historic fabric, introduces a lightness and transparency that contrasts beautifully with the solidity of the original – a masterful demonstration of how modern design can honor architectural heritage. The Taylor Institution, housed within a wing of the building, adds another layer of architectural interest, showcasing Oxford’s commitment to scholarship and learning. The careful juxtaposition of these elements—ancient stone meeting modern design—creates an atmosphere of intellectual curiosity and artistic delight, making a visit to the Ashmolean a truly immersive experience.
A Living Museum: Innovation and Community Engagement
Charles Drury Edward Fortnum played a pivotal role in shaping the museum’s identity in the late 19th century, transforming it from a somewhat haphazard collection into a carefully curated institution. His dedication to acquiring significant works and establishing clear organizational principles laid the groundwork for the Ashmolean's success – a visionary undertaking that cemented its place as Britain’s premier art museum. More recently, the museum has embraced contemporary art, hosting exhibitions by renowned artists such as Rachel Whiteread and showcasing innovative installations that challenge traditional notions of what a museum can be—demonstrating an unwavering commitment to engaging audiences with cutting-edge artistic perspectives. The recent University Engagement Programme has further strengthened ties between the museum and the university, fostering collaboration and enriching the learning experience for students and scholars alike – a partnership reflecting Oxford’s enduring tradition of intellectual exchange. Currently, “Stanley Donwood | Radiohead | Thom Yorke” offers a unique perspective on visual art through the lens of iconic music imagery—a thought-provoking exploration that underscores the universality of artistic expression.
