Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 227 værker af Carlo Crivelli i vores katalog
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I galleriets øjne er Carlo Crivellis mest berømte maleri Annunciation with Saint Emidius (1486), hvis original hænger på National Gallery i London. Pietà og Virgin and Child (1482) fuldender trioen, som ethvert øje genkender. Ud af de 227 værker af Carlo Crivelli i vores katalog præsenterer galleriet herunder de 100 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.
The Annunciation with Saint Emidius is an altarpiece by the artist Carlo Crivelli. Created in 1486, the work captures a sacred religious event through a lens of meticulous detail. It was originally commissioned for the Church of SS. Annunziata in Ascoli Piceno, located in the Marche region. This specific commission served a civic purpose, celebrating the self-government granted to the town of Ascoli Piceno by Pope Sixtus IV in 1482.
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…
Pietæ1493 · Pinacoteca di Brera
12
The Dead Christ between the Virgin and Saint John the Evangelist1475 · Harvard Art Museums
13
Saint Lucy1450 · Musée du Petit Palais
14
Saint Augustine1450 · Musée du Petit Palais
15
Saint Nicholas1450 · Musée du Petit Palais
16
Saint Catherine of Siena1450 · Musée du Petit Palais
17
Man of Sorrow1468
18
Resurrection1482 · Abegg Foundation
19
Saints Bernardino and Clare1480 · Worcester Art Museum
20
Madonna and Child1476 · National Gallery
21
Saint Jerome1473
22
Saint Jerome1476 · National Gallery
23
Saint Ursula1473
24
Enthroned Madonna1473
25
Saint Nicolas1480
26
Saint Benedict1488 · Gemäldegalerie
27
Saint Augustine1490 · Palazzo Colonna
28
Bonaventure1490 · Gemäldegalerie
29
St Antony of Padua1487 · Bonnefanten Museum
30
St Dominic1487 · Bonnefanten Museum
31
St Ambrose1487 · Bonnefanten Museum
32
Madonna1489
33
Saint Roch1490
34
Saint Catherine of Alexandria1476 · National Gallery
35
Apostles1473
36
Coronation of the Virgin1493 · Pinacoteca di Brera
37
St Roch1493 · Wallace Collection
38
Enthroned Madonna1473 · National Gallery
39
St Jerome and St Augustine (detail)1490 · Gallerie dell'Accademia di Venezia
40
Polittico di Ascoli Piceno
41
Saint Bartholomew1475 · Pinacoteca di Brera
42
Lamentation of Christ1473
43
Madonna and Child Enthroned1477 · Szépművészeti Múzeum
44
Triptych of Camerino1482 · Pinacoteca di Brera
45
Enthroned Madonna (Enthroned Maria lactans)1473
46
Saint George1472
47
Madonna and Child St Francis of Assisi1471 · Musées Royaux des Beaux-Arts
48
Saint Anthony, Saint Jerome, Saint Andrew1482 · Pinacoteca di Brera
49
Annunciation angel Gabriel1468
50
Virgin Annunciation1468
51
Saint John the Baptist1468
52
Saint Laurenzius1468
53
Madonna and Child enthroned with donor1470
54
Saint Catherine of Alexandria1473
55
Saints Anthony and Lucia1470
56
Madonna and Child Enthroned1476
57
Saint Jerome1473
58
Saint Dominic1476
59
Saint1480
60
Saint Catherine of Alexandria1476
61
Saint John the Baptist1476
62
Saint Roch1480 · Wallace Collection
63
Saint George1473
64
Two Apostles1475
65
Saint Peter1470
66
Saint John the Baptist1473
67
Saint Catherine of Alexandria1470
68
Saint Peter1473
69
Saint Peter Martyr and Saint Venetianus of Camerino1482
70
Saint Paul1473
71
Saint Emidius1473
72
Saint Louis of Toulouse Saint Jerome Saint Peter and1493 · Musée Jacquemart-André
73
Madonna and Child, before -1490
74
Madonna and Child, before -1490
75
Madonna and Child, before -1490
76
Madonna and Child, before -1490
77
Saint Paul, Saint John Chrysostom and Saint Basil1493
78
Enthroned Madonna, St. Jerome and St. Sebastian1490
79
Saint Sebastian1490
80
Saint George and the dragon1490
81
María Magdalena 1
82
St John the Baptist1488 · The Ashmolean Museum of Art and Archaeology
83
Virgin and Child Enthroned1476 · Szépművészeti Múzeum
84
Saint James1473
85
Saint Francis1470
86
Apostles1473
87
Saint Bartholomew1473
88
Virgin proclamation1482 · Städel Museum
89
Saint Francis1470
90
Flagellation of Christ1468
91
Virgin and Child Enthroned with Saints1488 · Staatliche Museen zu Berlin
92
St Peter and St Paul (detail)1490 · Gallerie dell'Accademia di Venezia
93
Christ's prayer on Oelber1468
94
Portrait of a Man
95
Saint Thomas Aquinas1476
96
Saint Louis of Toulouse1470
97
St. Anthony
98
Christ in the grave with saintsGemäldegalerie
99
untitled (7477)
100
San DoménicoNational Gallery
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Carlo Crivelli | Malerier fra denne liste |
|---|---|---|---|
 National Gallery |
London | 27 | Annunciation with Saint Emidius, Annunciation with St Emidius (detail), Saint Lucy |
 Pinacoteca di Brera |
Milano | 10 | Virgin and Child, Pietæ, Coronation of the Virgin |
 Musée du Petit Palais |
Avignon | 4 | Saint Lucy, Saint Augustine, Saint Nicholas |
 Gemäldegalerie |
Berlin | 4 | Saint Benedict, Bonaventure, Christ in the grave with saints |
 Bonnefanten Museum |
Maastricht | 3 | St Antony of Padua, St Dominic, St Ambrose |
 Gallerie dell'Accademia di Venezia |
Venedig | 4 | St Jerome and St Augustine (detail), St Peter and St Paul (detail) |
 Städel Museum |
Frankfurt | 2 | Annunciation angel, Virgin proclamation |
 Wallace Collection |
London | 2 | St Roch, Saint Roch |
Vælg et årti for at se det originale værk, der definerer det.
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 left, her gaze directed toward an unseen horizon. Her form is draped in heavy, flowing garments that fall in deep, rhythmic folds, suggesting the weight and texture of thick textile. A delicate halo, rendered with fine, radiating lines, encircles her head, catching…
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 he is lowered from the cross. This central figure, marked by vulnerability and suffering, occupies the immediate foreground. Around him, the presence of Mary and other figures is felt through partial visibility, their forms emerging from the shadows to witness the descent.…
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 Annunciation with Saint Emidius is an altarpiece by the artist Carlo Crivelli. Created in 1486, the work captures a sacred religious event through a lens of meticulous detail. It was originally commissioned for the Church of SS. Annunziata in Ascoli Piceno, located in the Marche region. This specific commission served a civic purpose, celebrating the self-government granted to the town of Ascoli Piceno by Pope Sixtus IV in 1482.
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…
Annunciation with Saint Emidius (1486), National Gallery, London. Derefter følger Pietà og Virgin and Child (1482).
51 år gammel: Annunciation with Saint Emidius er fra 1486, og Carlo Crivelli blev født i 1435.
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. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 227 værker af Carlo Crivelli, dateret fra 1450 til 1493.
Primært i National Gallery (London), Pinacoteca di Brera (Milano) og Musée du Petit Palais (Avignon). Museumslisten ovenfor viser dem alle.
I 1470s: 42 af de 100 værker på denne side blev skabt dengang, herunder Saint Lucy.
På denne side er det tidligste Saint Lucy (1450) og det seneste Pietæ (1493).
Religious (27), Saints (23) og Man (19), fordelt på de 100 værker på denne side.
Tempera On Panel, for 36 af de 100 værker på denne side.
Tidlig renæssance, baseret på originalerne på denne side.
Annunciation with Saint Emidius, Annunciation with St Emidius (detail) og Saint Lucy: National Gallery, London har 10 af værkerne på denne side.
Født i Venedig trådte Carlo Crivelli ind på scenen som en del af en malerfamilie, en slægt, der sandsynligvis formede hans tidlige forståelse for håndværket. Hans formative år blev brugt på at opsuge de stilistiske strømninger i Veneto, hvor han trak på Vivarini-skolen og den lineære præcision fra den paduanske tradition. Han var en mand med en markant, ofte stædig, sanselighed. Mens hans samtidige bevægede sig mod den tidlige renæssances naturalisme, fastholdt Carlo Crivelli sin hengivenhed til den dekorative overflod i sengotikken. Dette valg gjorde ham til en enestående skikkelse i det femtende århundrede, en kunstner, der navigerede i spændingsfeltet mellem det gamle og det nye med et højst personligt, næsten manieret, udtryk.
Hans liv blev præget af et pludseligt brud med det venetianske centrum. I 1457, efter en juridisk sag involverende fristelsen af en gift kvinde, forlod han Venedig. Denne eksilperiode førte ham mod Marche-regionen, specifikt området omkring Ascoli Piceno. I disse østitalienske territorier fandt han en anden form for succes og blev en flittig skaber af altertavler. Han var ikke en følger af tidens herskende trends; i stedet dyrkede han en stil, der prioriterede klarhed og en skarp, lineær definition af form, ofte i isolation fra de store kunstneriske skift, der fandt sted i de større italienske knudepunkter.
Carlo Crivellis værker er defineret ved en teknisk virtuositet, der søgte at bygge bro mellem det hellige og det håndgribelige. Han var en mester i trompe l'oeil, hvor han brugte maling til at efterligne den fysiske verden med en forbløffende nøjagtighed. Han repræsenterede ikke blot genstande; han forsøgte at få dem til at optage det samme rum som beskueren. Hans overflader er ofte tætpakkede med simuleret marmorarkitektur, guirlander af frugt og pergamentagtige cartellini, der synes at projicere ud fra panelet. Denne besættelse af materialitet var central for hans religiøse hensigt og skabte en følelse af umiddelbarhed for dem, der stod foran hans altertavler.
Hans tilgang til farve og lys var både genial og bevidst. Han benyttede bladguld, ofte præget med indviklede mønstre, for at skabe en overjordisk glød, der stod i kontrast til de realistiske teksturer af silke, ædelstene og sten. Hans figurer besidder ofte en overdreven bleghed og en fejlfri teint, gengivet med skarpe konturer, der fremhæver deres skulpturelle kvalitet. Denne kombination af det højt dekorative og det intenst realistiske skabte et visuelt sprog, som var unikt hans eget, karakteriseret ved:
De værker, han efterlod sig, hvoraf mange befinder sig i samlinger som Pinacoteca di Brera og National Gallery, afslører en maler med en enorm teknisk dygtighed. Hans Madonnaer og skildringer af helgener er mærket af en usædvanlig ekspressionisme, hvor gestus ofte er overdrevne for at formidle dybe følelser. Han var detaljens maler, fra glimtet i en ridderrustning til de delikate folder i en Jomfru Marias klædedragt. Selv mens renæssancen bevægede sig mod andre idealer for perspektiv og proportioner, forblev Carlo Crivelli tro mod sin omhyggelige og detaljerige vision, hvilket sikrede ham en plads som en af sin eras mest distinkte stemmer.
