Carlo Crivelli
1430-1495 Italian Carlo Crivelli Locations 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, however, he was one of the most collected of 15th-century Italian painters.
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Carlo Crivelli Annunciation with St. Endimius oil painting


Annunciation with St. Endimius
mk156 1486 Oil on canvas transferred to wood 207x147cm
Painting ID::  40257 		Carlo Crivelli
Annunciation with St. Endimius
mk156 1486 Oil on canvas transferred to wood 207x147cm
   
   
     
Carlo Crivelli The Vision of the Blessed Gabriele Ferretti oil painting


The Vision of the Blessed Gabriele Ferretti
mk170 circa 1489 Oil and egg tempera on poplar 141x87cm
Painting ID::  42865 		Carlo Crivelli
The Vision of the Blessed Gabriele Ferretti
mk170 circa 1489 Oil and egg tempera on poplar 141x87cm
   
   
     
Carlo Crivelli The Dead Christ Supported by two angels oil painting


The Dead Christ Supported by two angels
mk170 1473-1475 Tempera on poplar 72.4x55.2cm
Painting ID::  42866 		Carlo Crivelli
The Dead Christ Supported by two angels
mk170 1473-1475 Tempera on poplar 72.4x55.2cm
   
   
     
Carlo Crivelli The Annunciation oil painting


The Annunciation
mk170 oil and egg tempera on canvas 207x146.7cm
Painting ID::  42867 		Carlo Crivelli
The Annunciation
mk170 oil and egg tempera on canvas 207x146.7cm
   
   
     
Carlo Crivelli La Madonna della Rondine oil painting


La Madonna della Rondine
mk170 1490-1492 Oil and egg tempera on poplar 150.5x107.3cm
Painting ID::  42868 		Carlo Crivelli
La Madonna della Rondine
mk170 1490-1492 Oil and egg tempera on poplar 150.5x107.3cm
   
   
     
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     Carlo Crivelli
     1430-1495 Italian Carlo Crivelli Locations 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, however, he was one of the most collected of 15th-century Italian painters.

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