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Pieta 124
CRIVELLI, Carlo7.jpg
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Pieta_124
Oil on wood
Pinacoteca, Vatican
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St Jerome and St Augustine dsfg
CRIVELLI, Carlo8.jpg
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St_Jerome_and_St_Augustine_dsfg
c. 1490
Tempera on wood, 187 x 72 cm
Gallerie dell'Accademia, Venice
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Virgin and Child dfg
CRIVELLI, Carlo9.jpg
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Virgin_and_Child_dfg
1490s
Tempera on panel
Victoria and Albert Museum, London
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Virgin and Child Enthroned sdf
CRIVELLI, Carlo10.jpg
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Virgin_and_Child_Enthroned_sdf
around 1476
Panel, 106,5 x 55,3 cm
Museum of Fine Arts, Budapest
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Virgin and Child Enthroned around
new22/CRIVELLI, Carlo-457426.jpg
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Virgin_and_Child_Enthroned_around
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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