Veržė Carlo Crivelli šlovę tapyba Annunciation with Saint Emidius (1486); ji eksponuojama National Gallery, Londonas. Pietà ir Virgin and Child (1482) seka juos kolekcionerių bei muziejų lankytojų širdyse. Iš 227 Carlo Crivelli kūrinių mūsų kataloge, šios 100 yra labiausiai gerbiamos – kiekvienas jų pateikiamas su datos, muziejaus ir išskirtinės ypatybės aprašymu.
Rangos vieta nulegiama pagal mūsų populiarumumo balas, kurį sudaro kiekvieno kūrinio paieškos, apsilankėjimai ir užsakėjimai. Atnaujinta spalis 2026. Kiekvieną šio puslapio šedevrą galite užsisakyti kaip muziejoriaus kokybės rankų darbo alievinę reprodukciją arba aukščiausios kokybės meninį spausdiną jūsų pasirinktu dydžiu.
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 Crivelli – Pietà: Štai Šventosios Marijos ir Kristaus Žaibo Šlovė Štai vienas iš Carlo Crivelli žymiausių kūrinių, Pietą (1493), kuriuos galima įvardinti kaip šventumo simbolį. Šis paveikslas…
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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…
Atneškite į savo namus →Keturi populiariausi temų motyvai tarp šių šedevrų, su geriausiais kiekvieno pavyzdžiais.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Carlo Crivelli darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 National Gallery |
Londonas | 27 | Annunciation with Saint Emidius, Annunciation with St Emidius (detail), Saint Lucy |
 Pinacoteca di Brera |
Milanas | 10 | Virgin and Child, Pietų Šventoji Gimtė, Coronation of the Virgin |
 Musée du Petit Palais |
Avinjonas | 4 | Saint Lucy, Saint Augustine, Saint Nicholas |
 Bonnefanten muziejus |
Maastricht | 3 | St Antony of Padua, St Dominic, St Ambrose |
 Gemäldegalerie |
Berlynas | 4 | Saint Benedict, Bonaventure |
 Gallerie dell'Accademia di Venezia |
Venecija | 4 | St Jerome and St Augustine (detail), St Peter and St Paul (detail) |
 Vatikano Pinakoteka |
Vaticano Miestas | 2 | Pietà, Pietà |
 Städel Museum |
Frankfurtas | 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, Londonas. Toliau yra Pietà ir Virgin and Child (1482).
51 metų amžiaus: Annunciation with Saint Emidius sukurta 1486 m. ir Carlo Crivelli gimė 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 ir Annunciation angel. Viršuje esančioje reitingo lentelėje nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 227 Carlo Crivelli darbų, datuojamų nuo 1450 iki 1493.
Dauguma jų yra National Gallery (Londonas), Pinacoteca di Brera (Milanas) ir Musée du Petit Palais (Avinjonas). Viršuje esančiame lange muziejai išvardyti po vieni.
1470s laikotarpyje: 42 iš 100 šioje pusėje esančių darbų sukurtos tada, iš jų – Saint Lucy.
Pirmasis šioje pusėje yra Saint Lucy (1450), paskutinis – Pietų Šventoji Gimtė (1493).
Religious (31), Saints (26) ir Virgin mary (20), iš 100 šioje pusėje esančių darbų.
Tempera On Panel: 35 iš 100 šioje pusėje esančių darbų.
Ankstyvasis renesansas, kaip rodo šio puslapio paveikslai.
Annunciation with Saint Emidius, Annunciation with St Emidius (detail) ir Saint Lucy yra vieni iš 9 šioje puslapyje esamų darbų, kuriuos saugo National Gallery, Londonas.
Taip. Kiekvieną šioje pusėje esantį paveikslą galite užsakyti kaip muziejoriaus kokybės rankų darbų alievinę kopiją arba aukščiausios kokybės spausdinį pasirinktu jūsų pageidaujamu dydžiu tiesiai iš paties paveikslą puslapio.
Gedęs Venecijoje, Carlo Crivelli krito iš tapybininkų šeimos – tai lėgė, tikriausiai, jo ankstyvojamį amatybių suvokimą. Formatyvus metus jis praleido inertidamas į stiliaus sūpines Venecijos regiono, besisiurbandamas iš Vivarini mokykos ir Paduvos tradicijos linijinio tikslumo. Jis buvo žmogus išskirtimų, kartais ir užsisunkio, jautrumų. Kol jo samtvariai linko į ankstyvojo Renesanso naturalizmą, Carlo Crivelli išliko ištikimas vėlyvojo gotikos dekoratyvumo puiklumui. Šis pasirinkimas padarė jį unikaliu XV amžiaus figūra – menininku, kuris balansavo tarp senųjų ir naujųjų metodų naudojdamas itin asmenišką, beveik manieristą ekspresionizmą.
Jo gyvenimą pažymėjo sta suddenis atsakas nuo Venecijos centro. 1457 metais, po teisinių įvykių, susijusių su išেরimo tema, jis paliko Veneciją. Šis tremtinimo laikotarpis nukeliavo jį link Markų regiono, ypašiai į Ascoli Piceno apyl Keyes. Šiose rytų Italijos teritorijose jis pasiekė kitokio pobūdžio sėkmę, tapdamas gausiai kuriančiu altarijų paveikslų meistru. Jis nebuvo tuoriojų tendencijų sekėjas; priešingai, jis puoselėjo stilių, kuriame pirmenybe buvo aiškumas ir aštrus, linijinis formų aprašymas, dažnai dirbdamas izoliuotai nuo didžiųjų meninių pokyčių, vykdavusių dideliaisse Italijos miestuose.
Carlo Crivelli kūryba pasižymi techniniu meistriškumu, kuris siekė užpildyti atėmą tarp šventybės ir materialumo. Jis buvo trompe l'oeil meistras, naudojantis dažus, kad su zdėsmingu tikslumu atkartotų fizinį pasaulį. Jis ne tik vaizdavo daiktus; jis bandė priversti juos užimti tą patį erdvės plokštumą, kurioje stovi žiūro. Jo paveikslų paviršiai dažnai užkadiminti simuliuota marmuro architektūra, vaisių giriniais ir pergamentiniais cartellini, kurie atrodo išsikippę iš paveikslos plokštės. Šis materialumo obsesija buvo esminė jo religinės paskirties dalis, sukurianti skubos ir artumo pojūtį tiems, kurie stovi prieš jo altarija.
Jo požiūris į spalvą ir šviesą buvo kartu genialus ir tyčia apgalvotas. Jis panaudojo aukso lapus, dažnai išraižytus sudėtingais ornamentoiais, kad sukurtų kitokio pasaulio švytėjimą, kuris kontrastavo su tikrais šilko, brangiųjų akmenų ir juokų tekstūromis. Jo figūros dažnai pasižymi padėtenu palaukštumu ir nepriekaištingu odos tekstūru, kurią perteikė aštrios kontūros, pabrėžiančios jų skulptūrinę kokybę. Šis itin dekoratyvaus ir intensyviai realistiško derinis sukūrė vizualinę kalbą, kuri buvo unikali tik jam, pasižyminti:
Kūriniai, kuriuos jis paliko, iš kurių daugelis saugomi tokiose kolekcijose kaip Pinacoteca di Brera ir National Gallery, atskleidžia neįtikėtiną techninę talentą. Jo Madonos ir šventųjų vaizdinimai pasižymi neįprastu ekspresionizmu, kuriame gestai dažnai būtų padidinti, kad perteiktų gilią jausmą. Jis buvo detalų paveikslavęs meistras – nuo riterio plėšlytės žibesio iki delikatvaigių Mergelės apdangių skliaveslių. Net kai Renesansas žengė link kitokių perspektyvos ir proporcijų idealų, Carlo Crivelli išliko ištikimas savo kruopščiai išvystytai, itin detalijai išgražintai vizzijai, užtikrindamas savo vietą kaip vieno iš išskirtiausių savo eras balsų.
