Collection
Carlo Crivelli
Explore curated art prints selected for distinctive homes and considered interiors.
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Enthroned Madonna, Saint Jerome, and Saint Sebastian - Carlo CrivelliPrint
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The Demidoff Altarpiece (Central Panels) - Carlo CrivelliPrint
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The Dead Christ between the Virgin and Saint John the Evangelist - Carlo CrivelliPrint
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Pietà - Carlo CrivelliPrint
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Saint Francis of Assisi and the Blood of Christ - Carlo CrivelliPrint
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Annunciation Angel Gabriel - Carlo CrivelliPrint
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Annunciation with Saint Emidius - Carlo CrivelliPrint
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Saint Francis of Assisi and the Blood of Christ - Carlo CrivelliPrint
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Saint Ursula - Carlo CrivelliPrint
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The Virgin and Child with Saints Francis and Sebastian - Carlo CrivelliPrint
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Triptych of Camerino - Carlo CrivelliPrint
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Madonna Enthroned with Donor (Detail) - Carlo CrivelliPrint
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Enthroned Madonna - Carlo CrivelliPrint
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Virgin and Child Enthroned with Saints - Carlo CrivelliPrint
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Lamentation Over the Dead Christ - Carlo CrivelliPrint
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Madonna of the Passion - Carlo CrivelliPrint
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Madonna and Child - Carlo CrivelliPrint
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Saint Francis - Carlo CrivelliPrint
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Saint Bartholomew - Carlo CrivelliPrint
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Saint James - Carlo CrivelliPrint
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Lamentation of Christ - Carlo CrivelliPrint
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Flagellation of Christ - Carlo CrivelliPrint
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Christ's Prayer on the Mount of Olives - Carlo CrivelliPrint
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Man of Sorrows - Carlo CrivelliPrint
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Artist Biography
Carlo Crivelli
Carlo Crivelli spent the most productive decades of his career in the March of Ancona, not in Venice, yet he never stopped signing himself "a Venetian." The declaration was an advertisement: Venetian training counted in the provincial cities of the Adriatic, and Crivelli's formation under the Vivarini and through the example of Mantegna gave him a technical seriousness that set him apart from local competition.
He had left Venice by 1458, possibly following a conviction for adultery in 1457 that may have made continued residence uncomfortable. The Marche towns, Ascoli Piceno above all, became his territory. He painted nothing but religious subjects: polyptychs, Madonnas, altarpieces designed for specific church niches where the gold-ground backgrounds and the theatrical use of festoons, fruit, and cucumbers would catch the light at specific hours.
The 1486 Annunciation with Saint Emidius, now in the National Gallery in London, is the work that most condenses his method. The architectural setting is precise and Flemish in its love of depth and surface texture; the figures are described with a wiry, almost metallic clarity that owes something to engraving. On the panel he signed it "Opus Caroli Crivelli Veneti Militis", he had been knighted by the Prince of Capua that same year.
His style was conservative by the standards of the 1480s, when Bellini was moving towards atmospheric sfumato and Venetian colour. Crivelli's answer was greater elaboration, not revision.
He had left Venice by 1458, possibly following a conviction for adultery in 1457 that may have made continued residence uncomfortable. The Marche towns, Ascoli Piceno above all, became his territory. He painted nothing but religious subjects: polyptychs, Madonnas, altarpieces designed for specific church niches where the gold-ground backgrounds and the theatrical use of festoons, fruit, and cucumbers would catch the light at specific hours.
The 1486 Annunciation with Saint Emidius, now in the National Gallery in London, is the work that most condenses his method. The architectural setting is precise and Flemish in its love of depth and surface texture; the figures are described with a wiry, almost metallic clarity that owes something to engraving. On the panel he signed it "Opus Caroli Crivelli Veneti Militis", he had been knighted by the Prince of Capua that same year.
His style was conservative by the standards of the 1480s, when Bellini was moving towards atmospheric sfumato and Venetian colour. Crivelli's answer was greater elaboration, not revision.
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