Maalaus, joka teki Carlo Crivelli kuuluisaksi, on Annunciation with Saint Emidius (1486); se on esillä National Gallery -museossa, kaupungissa Lontoo. Pietà ja Virgin and Child (1482) seuraavat perässä keräilijöiden ja museovieraiden suosikeissa. Carlo Crivelli teoksista 227 teoksen valikoimassamme nämä 100 ovat arvostetuimpia; jokaisesta on esitelty päivämäärä, museo sekä teoksen erityispiirteet.
Sijoitus perustuu suosiotulokseemme, joka yhdistää kunkin teoksen hakuja, vierailuja ja tilauksia. Päivitetty lokakuu 2026. Jokainen tämän sivun mestariteos on tilattavissa museolaatuisena, käsinmaalattuna öljyreproduktiona tai taideprinttinä valitsemassasi koossa.
The Annunciation with Saint Emidius is a remarkable painting by Carlo Crivelli, created in 1486. This oil on panel artwork is a prime example of Early Renaissance style, characterized by its use of linear perspective, detailed decoration, and everyday objects. The painting depicts the moment when the Archangel Gabriel announces to the Virgin Mary that she will bear the Son of God. Composition and Symbolism The composition of the painting…
To stand before Carlo Crivelli’s depiction of the Pietà is to be enveloped by an atmosphere of exquisite, sorrowful beauty. This masterpiece transcends a mere representation of tragedy; it is a meditation on devotion, loss, and enduring love. The scene centers upon the Virgin Mary, her posture conveying both profound grief and serene acceptance, as she cradles the lifeless body of Jesus Christ. Crivelli, working in the late 15th century…
To gaze upon this magnificent depiction of the Virgin Mary cradling the Christ Child is to step directly into the luminous, devotional world of the Italian Renaissance. Carlo Crivelli’s Virgin and Child, dating from 1482, is far more than a mere portrait; it is a carefully constructed moment of divine intimacy rendered with breathtaking technical skill. The composition immediately draws the eye to the tender connection between mother and son,…
In the quiet corners of art history, few works capture the breathtaking intersection of the divine and the terrestrial as exquisitely as Carlo Crivelli’s Annunciation with Saint Emidius. This masterpiece, a jewel of the Venetian Gothic tradition, invites the viewer into a sacred space where every brushstroke serves a higher purpose. At its heart, the painting depicts the profound moment of the Annunciation—the celestial announcement of Christ's incarnation to the…
This work presents Saint Lucy, a figure rendered with the distinctive, meticulous hand of Carlo Crivelli. Created about 1476, the painting emerged from a larger, cohesive program. It was originally part of the Four Panels from an Altarpiece, Ascoli Piceno. This grouping was designed to inhabit a specific sacred space, serving the devotional needs of its original setting.
The figure of Saint Catherine of Alexandria is presented within a shallow architectural niche, her presence defined by a vertical composition and a sense of quiet dignity. She is rendered in tempera on panel, a medium that allows for the meticulous layering of translucent glazes to build depth and luminosity. Her attire consists of a deep blue gown adorned with shimmering gold embroidery, a vibrant red cloak, and a striking…
Carlo Crivelli's "Saint Michael," painted around 1476, isn’t merely a depiction of an angel battling a demon; it’s a meticulously crafted tableau of spiritual warfare, brimming with Renaissance artistry and profound symbolism. This panel, once part of a larger altarpiece intended for the church of San Domenico in Ascoli Piceno, Italy, immediately draws the eye into a dynamic scene where youthful Michael, radiating aristocratic beauty yet possessing an undeniable ferocity,…
The Virgin Mary sits enveloped in a deep red background, a color that holds the weight of both royalty and sacrifice. She cradles her child with a steady, nurturing grace, her form defined by sharp, linear precision. A crown rests upon her head, catching the light and marking her status within this sacred space. Two apples appear in the composition—one near the bottom right and another toward the top left—resting…
The scene is a dense knot of grief, a tight arrangement of figures pressed against a luminous, gold-over-gesso background. At the center, the pale, sculptural flesh of Christ rests heavily, his torso rendered with anatomical precision. The Virgin Mary cradles him, her blue garment edged in reddish gold, her face marked by three large, distinct teardrops. Beside her, the figures of Mary Magdalene and another mourning companion overlap in a…
Created in 1482, this panel captures a pivotal moment of celestial intervention. The angel, poised in a state of graceful movement, holds a scroll, signaling the weight of the message being delivered to Mary. The scene unfolds within a structured architectural setting, where a brick wall provides a sense of tangible depth and permanence. A single bird flies above the angel, a subtle detail that punctuates the stillness of the…
Carlo Crivelliin Pietà – Rukouksen ja Surun Syvä Ytimessä Pietà on Carlo Crivellin mestariteos, joka vangitsee rukouksen ja surun syvimmän sydämen. Tämä aikansa varhaisen renessanssin maalauksessa näkyvä kuva…
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The painting titled The Dead Christ between the Virgin and Saint John the Evangelist is a work by the Venetian artist Carlo Crivelli. Created in 1475, this piece…
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The figure of Saint Lucy emerges from a dark, shadowed background, her presence defined by a sharp, sculptural clarity that feels almost tangible. She stands in profile, facing…
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A vertical, narrow composition presents a full-length figure of Saint Augustine standing within an architectural niche. The subject is a man with a long, textured beard and a…
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In Saint Nicholas, the artist Carlo Crivelli presents a single-figure vertical portrait that occupies a narrow, arched architectural niche. The subject is an elderly man, depicted from the…
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This vertical, narrow panel painting presents a single standing figure of Saint Catherine of Siena positioned within an elongated, pointed Gothic arch. The composition is highly centralized and…
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In "Man of Sorrow" by Carlo Crivelli, the viewer encounters a close-up depiction of the Deposition of Christ. The composition focuses intently on the body of Jesus as…
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In the quiet, luminous realm of the Early Renaissance, few artists possessed the ability to marry the tactile reality of the physical world with the profound mysteries of…
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In "Resurrection" by Carlo Crivelli, the composition centers on the figure of Jesus Christ rising from his sarcophagus. This tomb is positioned vertically within a diamond-shaped lozenge frame,…
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In Saints Bernardino and Clare, Carlo Crivelli presents an intimate, vertical arrangement that brings the viewer into close proximity with the divine. The composition focuses on the upper…
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The gaze meets the Madonna and Child, a work by the artist Carlo Crivelli. Created in 1476, this tempera on panel brings the sacred into a tangible, immediate…
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The painting depicts Saint Jerome, a figure of profound religious significance. This portrait captures the scholar in a moment of quietude, holding an open book that speaks to…
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The air feels heavy with the weight of silent thought as we encounter this solemn figure. A bearded cardinal, lost in a profound internal dialogue, gazes downward with…
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In this portrait of Saint Ursula by Carlo Crivelli, we encounter a young woman rendered with the precise, linear clarity characteristic of the Early Renaissance. The composition is…
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In this 1473 panel, we find ourselves in the presence of the Virgin Mary and the infant Jesus, a composition that speaks to the quiet intensity of the…
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This vertical composition depicts a full-length figure of a religious subject, likely a bishop or saint, rendered in a style reminiscent of late medieval or early Renaissance painting.…
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A solitary figure emerges from a structured, gilded background, rendered with the sharp, linear precision characteristic of the Venetian Renaissance. This portrait of Saint Benedict presents the subject…
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A formal, centered composition defines this late 15th-century depiction of Saint Augustine. The figure is framed within an elaborate architectural niche, characterized by twisted, rope-like columns and a…
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is a portrait by the Venetian painter Carlo Crivelli, executed about 1490. The work identifies its subject as likely Saint Bonaventure, a prominent figure within the Catholic tradition.…
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We are looking at St Antony of Padua, a work by the Venetian artist Carlo Crivelli. This specific depiction of Saint Anthony of Padua was executed in 1487.…
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The saint stands motionless within a narrow architectural niche, his presence filling the vertical space with a quiet, intense gravity. He is draped in the heavy, starkly contrasting…
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St Ambrose is a religious portrait executed by the Venetian-born painter Carlo Crivelli. Created about 1487, the work presents a single figure positioned within a shallow, arched niche.…
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In this 1489 depiction, we find ourselves in the presence of the Virgin Mary, seated upon an elaborate, throne-like structure that commands the central space. She holds the…
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The saint stands in profile, a solitary silhouette against a patterned backdrop. He is a man of quiet supplication, his body turned toward the left in a gesture…
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Carlo Crivelli's "Saint Catherine of Alexandria," painted around 1476, is more than just a devotional image; it’s a meticulously crafted window into the artistic sensibilities of early Renaissance…
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In the quiet, luminous realm of the Italian Renaissance, few works capture the intersection of earthly detail and celestial aspiration as poignantly as Carlo Crivelli’s Apostles. Created in…
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To gaze upon Carlo Crivelli’s Coronation of the Virgin is to step directly into a moment suspended between earthly splendor and divine glory. This monumental canvas, dating from…
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To stand before Carlo Crivelli’s St Roch is to step directly into the richly colored, deeply symbolic world of the late Italian Quattrocento. This exquisite panel painting, dating…
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The year is 1473, and within the bustling workshops of Venice, Carlo Crivelli was meticulously crafting an image destined to resonate through centuries – the “Enthroned Madonna.” This…
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Carlo Crivelli’s “St. Jerome and St. Augustine,” painted around 1490, isn't merely a depiction of two revered figures; it’s a carefully constructed tableau of intellectual and spiritual contemplation,…
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Carlo Crivelli's Pietà, a masterpiece housed within the Pinacoteca Vaticana, isn’t merely a depiction of loss; it’s an immersion into profound sorrow and a testament to enduring maternal…
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Saint Bartholomew is an artwork by Carlo Crivelli, executed in 1475. The work belongs to the Early Renaissance and reflects a Late Gothic decorative sensibility. It represents a…
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Carlo Crivelli's "Lamentation of Christ" is a poignant example of Early Renaissance art, crafted in 1473 using tempera on panel. Measuring 61 x 64 cm, this artwork resides…
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To gaze upon Carlo Crivelli's Madonna and Child Enthroned is to step directly into the luminous heart of the Italian Renaissance, yet to find echoes of a more…
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To stand before this magnificent triptych is to step directly into the devotional heart of the late Quattrocento. This three-paneled altarpiece, dating from 1482, does not merely depict…
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In the quiet, hallowed atmosphere of the Early Renaissance, few works capture the intersection of human tenderness and celestial grandeur as profoundly as Carlo Crivelli’s Enthroned Madonna. Created…
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The figure of Saint George emerges from the panel, a warrior caught in a moment of eternal struggle. Painted by Carlo Crivelli in 1472, this work presents the…
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To stand before this depiction of Madonna and Child alongside St. Francis of Assisi is to step directly into the luminous heart of the Italian Renaissance. The composition…
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This tempera on panel panel, dating to 1482, forms part of the predella of the larger Triptych of San Domenico. Originally commissioned for the church of San Domenico…
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In the heart of the Early Renaissance, few images capture the visceral tension between good and evil as poignantly as Carlo Crivelli’s Saint George and the Dragon. Painted…
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In the quiet stillness of Carlo Crivelli’s 1488 masterpiece, St John the Baptist, one encounters more than a mere religious portrait; one enters a sacred dialogue between the…
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In the quiet sanctity of the late 15th century, few artists could command the eye with as much decorative splendor and spiritual intensity as Carlo Crivelli. His masterpiece,…
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In the quiet, textured depths of Carlo Crivelli’s Saint James, painted in 1473, viewers are transported to the dawn of the Italian Renaissance. This intimate masterpiece, rendered on…
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In the quiet, luminous realm of the Early Renaissance, few artists captured the intersection of the divine and the earthly with as much meticulous precision as Carlo Crivelli.…
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In the quiet sanctity of the 15th century, few artists possessed the ability to marry the divine with the tactile as masterfully as Carlo Crivelli. His 1473 masterpiece,…
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In the quiet, luminous realm of the Early Renaissance, few works capture the intersection of human vulnerability and divine grace as poignantly as Carlo Crivelli’s Saint Bartholomew. Created…
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In the quietude of 1482, Carlo Crivelli captured a moment that transcends the boundaries of time and space. The Virgin Proclamation is not merely a depiction of a…
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The painting Saint Francis by Carlo Crivelli is a stunning example of Early Renaissance art. Created in 1470, this tempera on panel piece measures 74 x 54 cm…
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In the quiet intensity of Carlo Crivelli’s 1468 masterpiece, The Flagellation of Christ, viewers are transported into the heart of a profound biblical tragedy. This exquisite tempera on…
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In the quiet sanctity of the late 15th century, few artists could command the eye with as much decorative splendor and spiritual intensity as Carlo Crivelli. His monumental…
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Carlo Crivelli's "St Peter and St Paul" (circa 1490) isn’t merely a depiction of two revered saints; it’s a meticulously crafted portal into the heart of late medieval…
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The Christ's prayer on Oelber is a remarkable painting by the Italian artist Carlo Crivelli, created in 1468. This tempera on panel artwork measures 23 x 46 cm…
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This Portrait of a Man is a work by the Venetian artist Carlo Crivelli. Born in Venice, Italy, Crivelli established himself as a significant presence in the artistic…
Hanki se kotiisi →Nämä mestariteokset käsittelevät neljää yleisintä aihetta, joista jokaisesta on tässä hienoin esimerkki.
Tämän sivun teoksista eniten sisältävät 8 museota.
| Museo | Kaupunki | Carlo Crivelli teokset | Tämän listan maalaukset |
|---|---|---|---|
 National Gallery |
Lontoo | 27 | Annunciation with Saint Emidius, Annunciation with St Emidius (detail), Saint Lucy |
 Pinacoteca di Brera |
Milano | 10 | Virgin and Child, Pyhä Laatari, Coronation of the Virgin |
 Musée du Petit Palais |
Avignon | 4 | Saint Lucy, Saint Augustine, Saint Nicholas |
 Bonnefanten Museum |
Maastricht | 3 | St Antony of Padua, St Dominic, St Ambrose |
 Gemäldegalerie |
Berliini | 4 | Saint Benedict, Bonaventure |
 Gallerie dell'Accademia di Venezia |
Venetsia | 4 | St Jerome and St Augustine (detail), St Peter and St Paul (detail) |
 Vatikaanin Pinakoteekka |
Vatikaaninkaupunki | 2 | Pietà, Pietà |
 Städel Museum |
Frankfurt | 2 | Annunciation angel, Virgin proclamation |
The figure of Saint Lucy emerges from a dark, shadowed background, her presence defined by a sharp, sculptural clarity that feels almost tangible. She stands in profile, facing…
In "Man of Sorrow" by Carlo Crivelli, the viewer encounters a close-up depiction of the Deposition of Christ. The composition focuses intently on the body of Jesus as…
This work presents Saint Lucy, a figure rendered with the distinctive, meticulous hand of Carlo Crivelli. Created about 1476, the painting emerged from a larger, cohesive program. It…
The Annunciation with Saint Emidius is a remarkable painting by Carlo Crivelli, created in 1486. This oil on panel artwork is a prime example of Early Renaissance style,…
The figure of Saint Catherine of Alexandria is presented within a shallow architectural niche, her presence defined by a vertical composition and a sense of quiet dignity. She…
Annunciation with Saint Emidius (1486), National Gallery, Lontoo. Seuraavina ovat Pietà ja Virgin and Child (1482).
51 vuotta vanha: Annunciation with Saint Emidius on peräisin vuodelta 1486 ja Carlo Crivelli on syntynyt vuonna 1435.
Annunciation with Saint Emidius, Pietà, Virgin and Child, Annunciation with St Emidius (detail), Saint Lucy, Saint Catherine of Alexandria, Saint Michael, Madonna and Child, Pietà ja Annunciation angel. Yllä oleva sijoitus kertoo kunkin teoksen vuosiluvun ja museon.
Luettelossamme on 227 teosta taiteilijalta Carlo Crivelli, aikaväliltä 1450–1493.
Suurin osa niistä sijaitsee kohteessa National Gallery (Lontoo), Pinacoteca di Brera (Milano) ja Musée du Petit Palais (Avignon). Yllä oleva taulukko listaa museot yksitellen.
Ajanjaksona 1470s: 42 sivun 100 teoksista on peräisin tuolta ajalta, mukaan lukien Saint Lucy.
Tämän sivun vanhin on Saint Lucy (1450) ja uusin Pyhä Laatari (1493).
Religious (31), Saints (26) ja Virgin mary (20), 100 teoksen joukossa tällä sivulla.
Tempera On Panel: 35 / 100 teosta tällä sivulla.
kuten tämän sivun maalaukset osoittavat, Varhaisrenessanssi.
Annunciation with Saint Emidius, Annunciation with St Emidius (detail) ja Saint Lucy ovat yksi 9 teoksesta tällä sivulla, jotka kuuluvat National Gallery, Lontoo kokoelmaan.
Kyllä. Jokainen tämän sivun maalauksista voidaan tilata museolaatuisena, käsinmaalattuna öljyreprospektina tai taidepainoksena valitsemassasi koossa suoraan maalauksen omalta sivulta.
Venetsiassa syntynyt Carlo Crivelli nousi esiin maalariperheestä, sukulinjasta, joka todennäköisesti muovasi hänen varhaista ymmärrystään käsityöstä. Hänen muotoutumisvuotensa kuluivat Veneton tyylisuuntien äärellä, ammentaen vaikutteita Vivarinin koulukunnasta sekä Paduan perinteen lineaarisesta tarkkuudesta. Hän oli mies, jolla oli omat, usein jopa itsepäiset, aistimuksensa. Vaikka hänen aikalaistensa taide virtasi kohti varhaisen renessanssin naturalismia, Carlo Crivelli säilytti uskollisuutensa myöhäisgotiikan koristeellisuudelle. Tämä valinta teki hänestä ainutlaatuisen hahmon 1400-luvulla; taiteilijan, joka navigoi vanhan ja uuden välisessä jännitteessä erittäin henkilökohtaisella, lähes manieristisella ekspressionismilla.
Hänen elämäänsä leimasi äkillinen lähtö Venetsian keskuksesta. Vuonna 1457, avioliitossa olevan naisen houkuttelun vuoksi syntyneen oikeudellisen kiistatilanteen seurauksena hän jätti Venetsian. Tämä maanpako johti hänet kohti Marchen aluetta, erityisesti Ascoli Picenon ympäristöön. Näillä Itä-Italian alueilla hän saavutti erilaista menestystä ja nousi tuottavaksi alttaritaulujen tekijäksi. Hän ei ollut aikakauden vallitsevien trendien seuraaja; sen sijaan hän kultivoi tyyliä, joka priorisoi selkeyttä ja muodon terävää, lineaarista määrittelyä, työskennellen usein eristyksissä suurissa italialaisissa taiteellisissa keskuksissa tapahtuvista murroksista.
Carlo Crivellin työtä leimaa tekninen virtuoosimaisuus, joka pyrki siltaamaan kuilun pyhän ja käsin kosketeltavan välillä. Hän oli trompe l'oeil -tekniikan mestari, käyttäen maalia jäljittelemään fyysistä maailmaa hämmästyttävällä tarkkuudella. Hän ei ainoastaan esittänyt esineitä, vaan yritti saada ne tuntumaan olevan samassa tilassa katsojan kanssa. Hänen maalauksensa ovat usein täynnä simuloitua marmoriarkkitehtuuria, hedelmäkoristeita ja pergamenttisia cartellini-lappuja, jotka näyttävät työntyvän ulos paneelista. Tämä materiaalin tavoittelu oli keskeistä hänen hartauden tavoittelussaan, luoden välittömyyden tunteen niille, jotka seisoivat hänen alttaritaulujensa edessä.
Hänen lähestymistapansa väriin ja valoon oli sekä loistokas että harkittu. Hän käytti kultalehtia, joihin oli usein stansattu monimutkaisia kuvioita, luoden yliluonnollisen hehkun, joka kontrasti silkin, jalokivien ja kiven realististen tekstuurien kanssa. Hänen hahmonsa omaavat usein liiallisen kalpeuden ja virheettömän ihon, jotka on toteutettu terävillä ääriviivoilla korostaen niiden veistoksellista laatua. Tämä erittäin koristeellisen ja intensiivisen realistisen yhdistelmä loi visuaalisen kielen, joka oli ainutlaatuinen ja tunnistettava, ja jota leimasi:
Hänen jättämänsä teokset, joista monet sijaitsevat kokoelmissa kuten Pinacoteca di Brera ja National Gallery, paljastavat taiteilijan, jolla oli valtava tekninen taito. Hänen Madonnansa ja pyhimysten kuvauksensa ovat poikkeuksellisen ekspressionistisia, joissa eleitä on usein liioiteltu syvän tunteen välittämiseksi. Hän oli yksityiskohtien maalaaja, aina ritarin haarniskan välkkeestä Neitsyen vaatteiden herkkiin laskoksiin. Vaikka renessanssi eteni kohti erilaisia perspektiivin ja mittasuhteiden ihanteita, Carlo Crivelli pysyi uskollisena huolelliselle ja äärimmäisen yksityiskohtaiselle visiolleen, varmistaen paikkansa yhtenä aikakautensa erottuvimmista äänistä.
