Kõikidest Carlo Crivelli maalidest on kõige kuulsam Annunciation with Saint Emidius (1486); seda saab näha National Gallery-is, London. Järgnevad neile Pietà ja Virgin and Child (1482). Meie kataloogis olevatest 227 teosest on Carlo Crivelli kõige kuulsamad 100 teost, millest iga on esitatud koos kuupäeva, muuseumi ja luguga.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud oktoober 2026. Iga selle lehekülje maali saab tellida kas linatele kangale käsitsi maalatuna nagu õlimaalide reproduktsiooni või valitud suuruses fine art trükkina.
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 ja Tema Ülima Piinamise Maalimine Piinamise maaling on üks Carlo Crivelli suurimatest töödest, mida võib hinnata nii kunstiliste kui ka ajalooliste aspektide poolest. Seda loodud aastal…
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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 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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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…
Tellinime käsitsi maaldetud →Neli teemat, mis esinevad neil lätistes kõige sagedamini, koos nende kõige armastatumate näidetega.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Carlo Crivelli teosid | Selle nimekirja maalid |
|---|---|---|---|
 National Gallery |
London | 27 | Annunciation with Saint Emidius, Annunciation with St Emidius (detail), Saint Lucy |
 Pinacoteca di Brera |
Milano | 10 | Virgin and Child, Pieta, 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 |
Berliin | 4 | Saint Benedict, Bonaventure |
 Gallerie dell'Accademia di Venezia |
Veneetsia | 4 | St Jerome and St Augustine (detail), St Peter and St Paul (detail) |
 Vatikani Pinakoteek |
Vatikan | 2 | Pietà, Pietà |
 Städel Museum |
Frankfurt | 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, London. Järgnevad Pietà ja Virgin and Child (1482).
1435 aastal sündinud Carlo Crivelli oli 51 aastat vanus: Annunciation with Saint Emidius on pärinev aastast 1486.
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 ja Annunciation angel. Iga teos ülal toodud reitingus on märgitud koos aasta ja muuseumiga.
Kataloogis on 227 teost kunstnikult Carlo Crivelli, kuupäevadelt 1450 kuni 1493.
Peamiselt National Gallery (London), Pinacoteca di Brera (Milano) ja Musée du Petit Palais (Avignon) asukohas; ülaltoetud nimekiri esitab kirja iga muuseumi ja selle tablood.
1470s perioodil, mis sisaldas 42 kogu selle lehe 100 teosest, oli nende hulgas Saint Lucy.
Siin olevad kõige vanamad lamedad pildid on Saint Lucy (1450); kõige uuemad on Pieta (1493).
Religious (31), Saints (26) ja Virgin mary (20), kogu selle lehekülje 100 teose kohta.
Tempera On Panel, mida on kasutatud 27 kuni 100 teoseks sellel lehel.
Vararenessanss, nagu sellel lehel olevad tablood näitavad.
National Gallery, London säilitab 9 sellel lehel olevat teost, seda hulka kuuluvad ka Annunciation with Saint Emidius, Annunciation with St Emidius (detail) ja Saint Lucy.
Jah. Iga maali sellel lehel saab tellida oma lehelt kas käsitsi maalatuna õli-reproductionina või suurepärase kunstiprentina valitud suuruses.
Venetsias sündinud Carlo Crivelli pärines maalijate suguvõnast, ning see pärand on tõenäoliselt kujustanud tema varajast arusaamist kunstnikulise kadalise kohta. Tema kasvuaastad pöödugi Veneto stiilsete voolude omastamisele, pannes aluse oma kunstile nii Vivarini koolkonnast saadud mõjule kui ka Padu traditsiooni lineaarsele täpsusele. Ta oli omaolu ja sageli omaette, veeretav mees. Kui tema kaasaasajad liikusid ülespoole varajase renessanssi naturalismu poole, siis Carlo Crivelli säilitas dekoratiivsuse ja hilispgootika kirel. See valik tegi temast XV sajandil erakordse figüüri – kunstniku, kes navigeeris uue ja vana vahelise pinge kogemusega, kasutades oma väga isikupärast ja peaaegu maneerist ekspressionismi.
Tema elu jäi tähistama järsud lahkumine Venetsia kunstilistest keskusest. 1457. aastal, pärast õigustöötegu, mis oli seotud abielupaariga naise himitsemisega, lahkus ta Venetsiast. See eksili periood viis ta Marchesi piirkonda, täpsemalt Ascoli Piceno ümbruses asuvatele aladele. Need Itaalia idaäärsed territooriumid tõid temaga kaasa uue liikluse eduga, muutudes viljakaks altarpühakodade loojaks. Ta ei olnud tänapäeva valitsevate suundumiste järgija; vastupidi, ta arendas välja stiili, mis eelistas selgust ja vormi teravat lineaarset definitsiooni, töötades sageli isoleeritult suurematest Itaalia kunstilistest keskustest toimuvate suursuguste muudatustest.
Carlo Crivelli loomingut iseloomustab tehniline virtuooslikkus, mis püüdis sillata kurvistikulise ja käepõ touchitava vahel olevat tühjust. Ta oli trompe l'oeil meister, kasutades värvi, et imiteerida füüsilist maailma hämmastava täpsusega. Ta ei pelgalt esitanud objekte, vaid püüdis panna need samaid ruumi, kus seisis vaataja. Tema maali pinded on sageli täidetud simuleeritud marmorarhitektuuriga, puuviljade rühmade ja paberist cartellini elementidega, mis näib pildil paneelist välja hüppavateks. See materiaalsuse obsesioon oli tema pühendunud eesmärgi keskne, luues kohese ja vaataja läheduse tunde tema altarpühakodade ees seisjatele.
Tema lähenemine värvi ja valguse kasutamisele oli nii geniaalne kui ka hoolikalt planeeritud. Ta kasutas kullastati, mis oli sageli detaljeeritud mustrilisate stansplastega, et luua maailmast väljaspoolist säralust, mis kontrastis siidi, seemnete ja kivi realistiliste tekstuuridega. Tema figuurid on sageli liigselt vaevendatud ja täiusliku nahaga, esitatud teravate kontuuridega, mis rõhutavad nende skulptuurilist kvaliteeti. See kõrgel dekoratiivsuse ja intensiivse realismi kombinatsioon lõi visuaalse keele, mis oli täiesti tema oma, iseloomustades seda järgmistest omadustest:
Tööde jäljeldus, millest paljud asuvad sellistes kogumustes nagu Pinacoteca di Brera ja National Gallery, paljastab kunstniku, kellel oli hiirtav tehniline oskus. Tema Madonnat ja pühakujad on tähistatud ebatavalise ekspressionismiga, kus žestid on sageli phóngust exagereeritud sügava emotsiooni väljendamiseks. Ta oli detailide meister, alates rüütri rõõgendi säraldusest kuni Neitsi riietuse peenete ning keeruliste ning valikute ning.
Isegi kui renessanss liikus uute perspektiivi ja proportsioonide ideaalde suunas, püüdeldas Carlo Crivelli oma täpne ja detailide rikkas visiooni poole, tagades oma koha oma ajastu üksest erikumast ja selgemast kunstnikuklotsist.
