在卡罗·克里韦利的所有画作中，Annunciation with Saint Emidius (1486)最为著名；它现收藏于伦敦的国家美术馆。 紧随其后的是 Pietà 和 Virgin and Child (1482)。 在我们的目录中，卡罗·克里韦利 的 227 件作品里，这 100 件是最负盛名的，每件作品都附有创作日期、馆藏机构及其背后的故事。
排名依据为我们的热度评分，该评分综合了每件作品的搜索量、访问量及订单量。更新于 October 2026。 此页面上的每幅画作均可订购为手工绘制在亚麻画布上的油画复制品，或根据您选择的尺寸制作的高级艺术版画。
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…
卡罗·克里维尔的《圣母与基督》：文艺复兴时期宗教艺术的巅峰之作 卡罗·克里维尔（约1435年出生于威尼斯，逝世于1495年），是一位意大利文艺复兴时期画家，他是威尼斯和帕多瓦的一代杰出艺术家。他的艺术生涯始于早期哥特式风格的影响，并在随后逐渐发展成为一种独特的个人风格，与当时威尼斯的贝林尼大师形成鲜明对比。克里维尔的作品展现了对传统宗教艺术的深刻理解和精湛技艺，为我们今天欣赏艺术作品提供了一个珍贵的窗口。 《圣母与基督》（约1493年创作）是克里维尔最著名的作品之一，也是他对圣母哀伤主题的卓越表现。这幅作品现藏于意大利米兰的布雷拉美术馆，以其细腻的色彩运用和情感表达而闻名于世。画家巧妙地运用了早期文艺复兴风格的技巧，创作出了一幅令人震撼的作品，它不仅是对宗教题材的艺术诠释，更是对人类情感与信仰的深刻探讨。 作品解读：风格与技术 克里维尔的作品具有一种保守的晚期哥特式装饰美学特征，线条流畅、注重细节，并运用了“透视法”（trompe l'oeil）技巧，创造出视觉上的错觉效果。这种技艺不仅增强了画面的立体感和真实感，也体现了当时艺术家们对艺术表现力的追求。克里维尔的绘画采用的是温和而丰富的色彩方案，主要运用了大地色调，如红色、蓝色和黑色，这些颜色在画面中相互辉映，为人物形象赋予了生命力和情感深度。特别值得注意的是，克里维尔对圣母与基督的身体比例进行了精确计算，这体现了他对古典艺术传统的高度尊重。 历史背景与象征意义 《圣母与基督》创作于意大利文艺复兴时期，这一时期是欧洲文化艺术发展的重要阶段。当时艺术家们积极吸收了古希腊罗马艺术的精华，并将其融入到自己的作品中。克里维尔的作品不仅是对宗教信仰的虔诚表达，也反映了当时社会对圣母形象的崇敬与赞美。画面中的圣母怀抱基督的姿态象征着纯洁、慈爱和牺牲精神，而基督的身体则代表着救赎与希望。此外，画面的建筑元素——柱子和拱门——是宗教艺术中常见的装饰手法，它们不仅增强了画面的空间感，也营造出一种庄严神圣的气氛。 情感冲击与艺术价值 总而言之，《圣母与基督》是一幅充满力量和美感的作品，它能够引发观众对生命意义的思考和对宗教信仰的热爱。克里维尔以其卓越的绘画技巧和深刻的思想内涵为我们留下了宝贵的艺术遗产。这幅画作不仅是文艺复兴时期宗教艺术的杰作，也是人类文化艺术史上的经典之作，它将继续激励着一代又一代艺术家和观众，并为人们带来无尽的审美享受与精神启迪。
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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 "Resurrection" by Carlo Crivelli, the composition centers on the figure of Jesus Christ rising from his sarcophagus. This tomb is positioned vertically within a diamond-shaped lozenge frame,…
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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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A solitary figure emerges from a structured, gilded background, rendered with the sharp, linear precision characteristic of the Venetian Renaissance. This portrait of Saint Benedict presents the subject…
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A formal, centered composition defines this late 15th-century depiction of Saint Augustine. The figure is framed within an elaborate architectural niche, characterized by twisted, rope-like columns and a…
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is a portrait by the Venetian painter Carlo Crivelli, executed about 1490. The work identifies its subject as likely Saint Bonaventure, a prominent figure within the Catholic tradition.…
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We are looking at St Antony of Padua, a work by the Venetian artist Carlo Crivelli. This specific depiction of Saint Anthony of Padua was executed in 1487.…
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The saint stands motionless within a narrow architectural niche, his presence filling the vertical space with a quiet, intense gravity. He is draped in the heavy, starkly contrasting…
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St Ambrose is a religious portrait executed by the Venetian-born painter Carlo Crivelli. Created about 1487, the work presents a single figure positioned within a shallow, arched niche.…
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The saint stands in profile, a solitary silhouette against a patterned backdrop. He is a man of quiet supplication, his body turned toward the left in a gesture…
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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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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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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…
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收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 卡罗·克里韦利 的作品 | 此列表中的画作 |
|---|---|---|---|
 国家美术馆 |
伦敦 | 27 | Annunciation with Saint Emidius, Annunciation with St Emidius (detail), Saint Lucy |
 布雷拉畫廊 |
米蘭 | 10 | Virgin and Child, 圣母玛利亚怀抱耶稣基督, Coronation of the Virgin |
 Musée du Petit Palais |
阿维尼翁 | 4 | Saint Lucy, Saint Augustine, Saint Nicholas |
 Bonnefanten Museum |
马斯特里赫特 | 3 | St Antony of Padua, St Dominic, St Ambrose |
 柏林国家美术馆 |
柏林 | 4 | Saint Benedict, Bonaventure |
 威尼斯学院美术馆 |
威尼斯 | 4 | St Jerome and St Augustine (detail), St Peter and St Paul (detail) |
 梵蒂冈皮那科画廊 |
梵蒂冈城 | 2 | Pietà, Pietà |
 施泰德美术馆 |
法兰克福 | 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)，国家美术馆, 伦敦。其后是Pietà和Virgin and Child (1482)。
卡罗·克里韦利出生于1435，享年51岁：Annunciation with Saint Emidius创作于1486年。
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 及 Annunciation angel。上述排名中的每幅画布均附有创作年份及馆藏博物馆信息。
我们的目录中收录了 227 件 卡罗·克里韦利 的作品，日期从 1450 到 1493。
多见于 国家美术馆 (伦敦), 布雷拉畫廊 (米蘭) 及 Musée du Petit Palais (阿维尼翁)；上表列出了各博物馆及其馆藏作品。
在 1470s 时期，该页面 100 件作品中有 42 件出自该时期，其中包含 Saint Lucy。
此处的早期画布作品为 Saint Lucy (1450)；最晚为 圣母玛利亚怀抱耶稣基督 (1493)。
Religious (31), Saints (26) 及 Virgin mary (20)，共计 100 件作品。
Tempera On Panel，应用于本页 100 件作品中的 35 件。
正如本页面的画作所展示的，早期文艺复兴。
国家美术馆, 伦敦收藏了本页中9件作品，其中包括Annunciation with Saint Emidius, Annunciation with St Emidius (detail) 及 Saint Lucy。
是的。本页面的每一幅画作都可以在其详情页进行定制，您可以根据所需尺寸，将其订购为手工绘制的油画复制品，或精美的艺术版画。
卡罗·克里韦利出生于威尼斯的一个画家世家，这种血脉传承或许在潜移默化中塑造了他对绘画技艺的早期认知。在艺术成长的关键时期，他沉浸在威尼托地区的艺术潮流中，从维瓦里尼画派中汲取养分，并深受帕多瓦传统中那种线条精准性的影响。他是一个拥有独特、甚至可以说有些固执的审美情趣的人。当他的同辈艺术家们正纷纷转向早期文艺复兴的自然主义风格时，卡罗·克里韦利却始终对晚期哥特式那种繁复华丽的装饰美感保持着一种近乎虔诚的执着。这种选择使他成为了15世纪艺术界一个极其特殊的个体——在旧时代的传统与新时代的变革之间，他以一种高度个人化、甚至带有某种矫饰主义色彩的表现主义，在两者间的张力中开辟了自己的艺术路径。
他的生命轨迹中有一个突如其来的转折，即离开威尼斯艺术中心。1457年，因卷入一起涉及诱惑已婚女性的法律纠纷，他被迫离开了威尼斯。这段流亡岁月将他引向了意大利东部的马尔凯大区，特别是阿斯科利·皮切诺一带。在这些意大利东部领土上，他找到了另一种形式的成功，成为了一位高产的祭坛画创作者。他从未盲从于当时的流行趋势；相反，他精心培育出一种强调清晰度与锐利线条轮廓的风格，在意大利各大艺术中心发生剧烈变革之际，他往往在一种相对孤立的状态中，坚守着自己的艺术领地。
卡罗·克里韦利的作品以其卓越的技艺而著称，这种技艺试图在神圣性与物质真实感之间架起一座桥梁。他是“错视画”（trompe l'oeil）的大师，能够以惊人的准确度利用色彩来模拟现实世界。他不仅仅是在描绘物体，他更试图让物体仿佛占据了与观者相同的空间。在他的画作中，画面往往被模拟的大理石建筑、悬挂的水果花环以及仿佛从画板上跃然而出的羊皮纸小卡片（cartellini）所填满。这种对物质质感的痴迷是他宗教虔诚心的核心体现，为站在祭坛画前的信徒创造出一种直抵眼前的临场感。
他在色彩与光影的处理上既瑰丽又深思熟虑。他巧妙地运用金箔，并常以复杂的图案进行压印，营造出一种超凡脱俗的光辉，与丝绸、珠宝和石材那写实的质感形成鲜明对比。他的人物形象往往呈现出一种近乎过度的苍白与无瑕的肤色，通过锐利的轮廓线来强调其雕塑般的立体感。这种高度装饰性与极致写实主义的结合，创造出一种独一无二的视觉语言，其特征表现为：
卡罗·克里韦利留下的艺术瑰宝，其中许多现存于 布雷拉美术馆 和 国家美术馆 等重要馆藏中，无不展示出他高超的绘画造诣。他的圣母像与圣徒画像带有某种不寻常的表现主义色彩，通过夸张的手势来传达深沉的情感。他是一位细节的雕琢者，从骑士盔甲上的点点寒光，到圣母衣褶间细腻的纹理，无不尽收眼底。即便随着文艺复兴向透视法与比例学的全新理想演进，卡罗·克里韦利依然坚守着他那细致入微、极尽繁复的艺术愿景，从而确保了他在那个时代作为最独特艺术声音之一的地位。
