Av alle Carlo Crivellis malerier er Annunciation with Saint Emidius (1486) det mest kjente; det henger i National Gallery, London. Like bak følger Pietà og Virgin and Child (1482). Blant de 227 verkene av Carlo Crivelli i vår katalog, er disse 100 de mest kjente, hver vist med dato, museum og historie.
Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert October 2026. Hvert maleri på denne siden kan bestilles som en håndmalt oljereproduksjon på linlerret, eller som et kunsttrykk i ønsket størrelse.
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 og Pietà – Et Tidlig Renessanseverk av Stor Emosjon Pietà, malt av Carlo Crivelli i 1493, er mer enn bare et religiøst maleri; det er en…
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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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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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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…
Få det malt for hånd →De fire motivene som går igjen oftest på disse lerretene, hver med sitt mest kjente eksempel.
De 8 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Carlo Crivelli | Malerier fra denne listen |
|---|---|---|---|
 National Gallery |
London | 27 | Annunciation with Saint Emidius, Annunciation with St Emidius (detail), Saint Lucy |
 Pinacoteca di Brera |
Milano | 10 | Virgin and Child, Maria og Jesu lig, 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 |
Venezia | 4 | St Jerome and St Augustine (detail), St Peter and St Paul (detail) |
 Vatican Pinacoteca |
Vatikanstaten | 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. Pietà og Virgin and Child (1482) følger.
Carlo Crivelli, født i 1435, var 51 år gammel: Annunciation with Saint Emidius er fra 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 og Annunciation angel. Hvert lerret i rangeringen ovenfor er oppgitt med årstall og museum.
227 verk av Carlo Crivelli finnes i vår katalog, datert fra 1450 til 1493.
Hovedsakelig i National Gallery (London), Pinacoteca di Brera (Milano) og Musée du Petit Palais (Avignon); listen ovenfor navngir hvert museum og deres lerreter.
I 1470s, som utgjorde 42 av de 100 verkene på denne siden, var Saint Lucy blant dem.
Det eldste lerretet her er fra Saint Lucy (1450); det nyeste er fra Maria og Jesu lig (1493).
Religious (31), Saints (25) og Virgin mary (20), fordelt på 100 verk på denne siden.
Tempera On Panel, brukt i 23 av de 100 verkene på denne siden.
Tidlig renessanse, som lerretet på denne siden viser.
National Gallery, London har 9 av verkene på denne siden, inkludert Annunciation with Saint Emidius, Annunciation with St Emidius (detail) og Saint Lucy.
Ja. Hvert maleri på denne siden kan bestilles fra sin egen side som en håndmalt oljereproduksjon, eller som et kunsttrykk i den størrelsen du velger.
Født i Venezia, vokste Carlo Crivelli frem fra en familie av malere, en slekt som sannsynligvis formet hans tidlige forståelse av håndverket. Hans formative år ble tilbrakt med å absorbere de stilistiske strømningene i Veneto, med inspirasjon fra Vivarini-skolen og den lineære presisjonen i den padovanske tradisjonen. Han var en mann med en særegen, ofte sta, sanselighet. Mens hans samtidige beveget seg mot naturalismen i den tidlige renessansen, opprettholdt Crivelli sin hengivenhet til den dekorative overfloden i sengotikken. Dette valget gjorde ham til en enestående skikkelse i det femtende århundre, en kunstner som navigerte i spenningen mellom det gamle og det nye med et høyst personlig, nesten manieristisk, uttrykk.
Hans liv ble preget av et brått brudd med det venetianske sentrum. I 1457, etter en juridisk floke som involverte fristelsen av en gift kvinne, forlot han Venezia. Denne eksilperioden førte ham mot Marche-regionen, nærmere bestemt området rundt Ascoli Piceno. I disse øst-italienske territoriene fant han en annen form for suksess og ble en fruktbar skaper av altertavler. Han var ingen følger av datidens rådende trender; i stedet kultiverte han en stil som prioriterte klarhet og en skarp, lineær definisjon av form, og han arbeidet ofte isolert fra de store kunstneriske skiftene som fant sted i de større italienske knutepunktene.
Crivellis arbeid defineres av en teknisk virtuositet som søkte å bygge bro mellom det hellige og det håndfaste. Han var en mester av trompe l'oeil, og brukte maling for å etterligne den fysiske verden med en rystende nøyaktighet. Han representerte ikke bare objekter; han forsøkte å få dem til å oppta det samme rommet som betrakteren. Overflatene hans er ofte overfylt med simulert marmorarkitektur, fruktgirlandere og pergamentaktige cartellini som ser ut til å projisere seg ut fra panelet. Denne besettelsen av materialitet var sentral for hans religiøse intensjon, og skapte en følelse av umiddelbarhet for dem som sto foran hans altertavler.
Hans tilnærming til farge og lys var både briljant og bevisst. Han benyttet bladgull, ofte preget med intrikate mønstre, for å skape en overjordisk glød som sto i kontrast til de realistiske teksturene i silke, smykker og stein. Figurene hans har ofte en overdreven blekhet og en plettfri hud, gjengitt med skarpe konturer som fremhever deres skulpturelle kvalitet. Denne kombinasjonen av det høyt dekorative og det intenst realistiske skapte et visuelt språk som var unikt hans eget, karakterisert av:
Verkene han etterlot seg, hvorav mange befinner seg i samlinger som Pinacoteca di Brera og National Gallery, avslører en maler med en enorm teknisk ferdighet. Hans Madonnabilder og fremstillinger av helgener er preget av en uvanlig ekspresjonisme, der gester ofte er overdrevne for å formidle dype følelser. Han var en detaljenes maler, fra glimtet i en ridderrustning til de delikate foldene i en jomfrues drapering. Selv mens renessansen beveget seg mot andre idealer for perspektiv og proporsjoner, forble Crivelli tro mot sin møysommelige og detaljrike visjon, noe som sikret ham en plass som en av de mest distinkte stemmene i sin epoke.
