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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CRIVELLI, Carlo Pieta 124 oil painting


Pieta 124
Oil on wood Pinacoteca, Vatican
Painting ID::  6330 		CRIVELLI, Carlo
Pieta 124
Oil on wood Pinacoteca, Vatican
   
   
     
CRIVELLI, Carlo St Jerome and St Augustine dsfg oil painting


St Jerome and St Augustine dsfg
c. 1490 Tempera on wood, 187 x 72 cm Gallerie dell'Accademia, Venice
Painting ID::  6331 		CRIVELLI, Carlo
St Jerome and St Augustine dsfg
c. 1490 Tempera on wood, 187 x 72 cm Gallerie dell'Accademia, Venice
   
   
     
CRIVELLI, Carlo Virgin and Child dfg oil painting


Virgin and Child dfg
1490s Tempera on panel Victoria and Albert Museum, London
Painting ID::  6332 		CRIVELLI, Carlo
Virgin and Child dfg
1490s Tempera on panel Victoria and Albert Museum, London
   
   
     
CRIVELLI, Carlo Virgin and Child Enthroned sdf oil painting


Virgin and Child Enthroned sdf
around 1476 Panel, 106,5 x 55,3 cm Museum of Fine Arts, Budapest
Painting ID::  6333 		CRIVELLI, Carlo
Virgin and Child Enthroned sdf
around 1476 Panel, 106,5 x 55,3 cm Museum of Fine Arts, Budapest
   
   
     
CRIVELLI, Carlo Virgin and Child Enthroned around oil painting


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
Painting ID::  64696 		CRIVELLI, Carlo
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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