The painting that made Karlo Krivelli famous is Annunciation with Saint Emidius (1486); it hangs in the National Gallery, London. Pietà and Virgin and Child (1482) follow it in the hearts of collectors and museum visitors. Of the 227 works by Karlo Krivelli in our catalogue, these 100 are the most admired, each presented with its date, its museum and what sets it apart.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated oktober 2026. Every masterpiece on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, at the size you choose.
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 Crivellijev "Pietà" je mojstrovsko delo zgodbe o ljubezni, žalosti in veri – umetniška stvaritev, ki resonira skozi čas. Naslikana leta 1493 je bila ena izmed najpomembnejših zgodovinskih…
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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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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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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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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…
Bring it home →The four subjects that return most often among these masterpieces, with the finest example of each.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Karlo Krivelli | Paintings from this list |
|---|---|---|---|
 National Gallery |
London | 27 | Annunciation with Saint Emidius, Annunciation with St Emidius (detail), Saint Lucy |
 Pinacoteca di Brera |
Milano | 10 | Virgin and Child, Pijeta, 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 |
Berlin | 4 | Saint Benedict, Bonaventure |
 Gallerie dell'Accademia di Venezia |
Venecija | 4 | St Jerome and St Augustine (detail), St Peter and St Paul (detail) |
 Pinakota Vatikana |
Vatikanski grad | 2 | Pietà, Pietà |
 Städel Museum |
Frankfurt | 2 | Annunciation angel, Virgin proclamation |
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, London. Next come Pietà and Virgin and Child (1482).
51 years old: Annunciation with Saint Emidius dates from 1486 and Karlo Krivelli was born in 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 and Annunciation angel. The ranking above gives the year and the museum of each.
Our catalogue lists 227 works by Karlo Krivelli, dated from 1450 to 1493.
Most of them are in National Gallery (London), Pinacoteca di Brera (Milano) and Musée du Petit Palais (Avignon). The table above lists the museums one by one.
In 1470s: 42 of the 100 works on this page date from then, among them Saint Lucy.
The earliest on this page is Saint Lucy (1450), the latest Pijeta (1493).
Religious (31), Saints (25) and Virgin mary (20), among the 100 works on this page.
Tempera On Panel: 19 of the 100 works on this page.
Zgodnja renesansa, as the paintings on this page show.
Annunciation with Saint Emidius, Annunciation with St Emidius (detail) and Saint Lucy are among the 9 works on this page held by the National Gallery, London.
Yes. Every painting on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, in the size you choose, from the painting's own page.
Rodjen v Benetkah, Karlo Krivelli je izrazil iz družine slikarjev, rodovoslovja, ki je verjetno oblikovalo njegovo zgodnje razumevanje tega kmetstva. Njegove formative leta so bila prebožena z vpijanjem stilskih tokov Venecije, kjer je črpal iz šole Vivarini in linearne natančnosti padovanske tradicije. Bil je človek izrazitih, pogosto trdovnih občutljivosti. Medtem ko so se njegovi sodobniki premikali proti naturalizmu zgodnje renesanse, je Karlo Krivelli ohranil predanost dekorativni obilju pozne gotike. Ta izbira ga je naredila za enega izmed enotnih likov petnastoletja, umetnika, ki je med napetostjo starega in novega ways navigiral z izjemno osebno, skoraj manieristično, ekspresivnostjo.
Njegovo življenje je zaznamalo nenadno odločitev za odhod iz venetskega središča. Leta 1457, po pravnem zapletu, ki je vključeval skladen odnos s poročeno ženo, je zapustil Benetke. Ta obdobje izgnostva ga je vodilo proti regiji Marca, natančneje v okolico Ascoli Picena. Na teh vzhodnih italijanskih ozemeljih je dosegel drugačen kind uspeha in postal plodni ustvarjalec oltarjev. Ni bil zavežen prevladujočim trendom svojega časa; namesto tega je negoval slog, ki je temeljil na jasnosti in ostri, linearni definiciji oblike, pogosto pa je delal v izolaciji od glavnih umetniških premikov, ki so se odvijali v večjih italijanskih središčih.
Krivellijevo del opredelja tehnična virtuoznost, ki je skušala premostiti razpino med svetim in oprijemljivim. Bil je mojster tehnike trompe l'oeil, s katero je z barvo zdivičast in z presenetljivim natančnim posnemil fizični svet. Objektov ni le predstavljal; poskušal je pripraviti, da bi zanimali isti prostor kot gledalec. Njegove površine so pogosto preobložene s simulirano marmorno arhitekturo, venčevmi sadja in pergamentnimi cartellini, ki se zdijo izstopati neposredno iz plošče. Ta obsesija z materialnostjo je bila ključna za njegov devocionalni namen, saj je ustvarjala občutek neposrednosti za tiste, ki so stali pred njegovimi oltarji.
Njegov pristop k barvi in svetlobi je bil hkr briljanten in načrtan. Uporabljal je zlato list, pogosto z zapletenimi vzorci, da bi ustvaril nadzemni sij, ki se je kontrastiral z realističnimi teksturami svilice, draguljev in kamna. Njegove figure pogosto posedujejo pretirlen bledo barvo in brezhibno čisto kožo, prikazano z ostrimi konturami, ki poudarjajo njihovo rezabno kakovost. Ta kombinacija visoko dekorativnega in intenzivno realističnega je ustvarila vizualni jezik, ki je bil edinstveno njegov, ki so ga odlikovali:
Dela, ki jih je pustil za sobą, od katerih se mnoga nahajajo v zbirkah, kot sta Pinacoteca di Brera in National Gallery, razkrivajo slikarja neizmerne tehnične veščiljenosti. Njegove Madone in prikazi svetih so zaznamani z neobičnim ekspresionizmom, kjer so gesti pogosto preobnaščeni, da bi izrazili globoko čustvo. Bil je slikar detajlov, od sijaja viteškega oklepa do nežnih gumb na Vedrini draperiji. Tudi ko se je renesansa premikala proti drugačnim idealom perspektive in proporcij, je Karlo Krivelli ostal zavezan svoji natančni, izjemno podrobni viziji, s čimer je zagotovil svoj položaj enega izmed najbolj prepoznavnih glasov svojega obdobja.
