Saint Jerome - Carlo Crivelli
Archival giclée
Ready to hang
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Made to order
Description
This tempera panel by Carlo Crivelli depicts Saint Jerome, a Doctor of the Church, holding a miniature church and a book. The artwork showcases Crivelli's meticulous technique and distinctive style, typical of the Early Renaissance.
Carlo Crivelli's 'Saint Jerome' presents the saint in a distinctive, almost sculptural style characteristic of the Early Renaissance. Crivelli, an Italian painter known for his works in tempera, often incorporated elaborate details and ornamentation into his religious scenes. This panel exemplifies his meticulous technique and unique artistic vision. Saint Jerome is depicted holding a miniature church, a symbol of his role as a Doctor of the Church and his work in translating the Bible. He also holds a book, likely representing the Vulgate, the Latin translation of the Bible that he produced. The saint's face is rendered with careful attention to detail, capturing his aged features and contemplative expression. He wears a cardinal's hat and robes, signifying his position within the Church hierarchy. The background features a decorative gold pattern, adding to the overall opulence of the composition. Crivelli's use of colour is striking, with the red of Jerome's robes contrasting against the gold background and the pale tones of his skin and beard. The architectural details of the miniature church are rendered with precision, showcasing Crivelli's skill in depicting three-dimensional forms. The overall effect is one of solemnity and reverence, reflecting the importance of Saint Jerome within Christian tradition.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Saint Jerome - Carlo Crivelli
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Carlo Crivelli
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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