Paper

Student Artwork Guide

Saint Michael

Name Class Date

Carlo Crivelli, Saint Michael (1476), National Gallery. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Carlo Crivelli originaluniqueart.com/en/artists/carlo-crivelli/
Artist’s dates
1435 – 1495
Painted
1476
Original size
90 x 26 cm
Movement
Late Gothic
Held at
National Gallery originaluniqueart.com/en/museums/national-gallery-london/
Artistic style
Late Gothic
Influences
Crivelli, Vivarini
Notable elements
Foreshortening, three-D effects
Subject or theme
Archangel Michael vs. Devil

In context

Saint Michael — Carlo Crivelli

How big is it?

The original measures 90 × 26 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1430
  2. 1440
  3. 1450
  4. 1460
  5. 1470
  6. 1480
  7. 1490

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 60 at death.

Painted when the artist was 41. The artist lived to 60. 44 of the 105 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Carlo Crivelli (1435–1495) ▲ this work, 1476 every dated painting, decade by decade

First works: up to 1473 Main working years: 1473–1490 Late works: from 1490

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

  • Virgin and Child, 1482 originaluniqueart.com/en/art/carlo-crivelli-virgin-and-child-8XXR56-en/
  • Pietà, 1470 originaluniqueart.com/en/art/carlo-crivelli-pieta-8XXR69-en/
  • St George, 1472 originaluniqueart.com/en/art/carlo-crivelli-st-george-8Y35V2-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/carlo-crivelli-saint-michael-D3U48Z-en/

Colours

Measured from the image

    Main colour

    White #f3f0ec

    Catalogued palette

    • #F3F0EC
    • #3B2F1A
    • #9E8459
    • #715A33

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    White
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Carlo Crivelli over the last twelve months — 13 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 64.9%
    2. 2 United States of America 15.8%
    3. 3 Singapore 6.1%
    4. 4 Hong Kong 2.6%
    5. 5 Germany 1.8%
    6. 6 Mexico 1.8%
    7. 7 Uruguay 1.8%
    8. 8 Austria 0.9%
    9. 9 Brazil 0.9%
    10. 10 Spain 0.9%
    11. · 3 other countries 2.5%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Carlo Crivelli

    1. 1 Madonna of the Passion, 1460 3.1%
    2. 2 Annunciation with Saint Emidius, 1486 3.1%
    3. 3 Lamentation over the Dead Christ, 1485 2.4%
    4. 4 St Jerome and St Augustine (detail), 1490 2.4%
    5. 5 St George, 1472 2.4%
    6. 6 St Jerome and St Augustine, 1490 2.4%
    7. 7 Polittico di Ascoli Piceno 2.4%
    8. 8 St. Thomas of Aquino 2.4%
    9. 9 María Magdalena 1 2.4%
    10. 10 Apostol St. Peter 2.4%
    11. 11 Virgin and Child, 1482 1.6%
    12. 12 Virgin proclamation, 1482 1.6%
    13. 13 Saint Bartholomew, 1475 1.6%
    14. 14 Madonna and Child Enthroned, 1477 1.6%
    15. 15 Saint James of the Marches with two kneeling donor, 1477 1.6%
    16. 16 Apostles, 1473 1.6%
    17. 17 Saint John the Baptist, 1468 1.6%
    18. 18 Coronation of the Virgin, 1493 1.6%
    19. 19 St Peter and St Paul, 1490 1.6%
    20. 43 Saint Michael, 1476 this painting 0.8%

    Together these works take 40.6% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 192 works by this artist, of which 82 were looked at at least once. This painting ranks 43 of them, with 0.8% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Saint Michael — Carlo Crivelli

    A Vision of Heavenly Conflict

    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, confronts the writhing embodiment of evil beneath his feet. The composition isn’t simply about physical combat; it's a carefully orchestrated visual argument between order and chaos, light and darkness, good and sin.

    Crivelli, deeply influenced by the Venetian artistic traditions of Vivarini and Mantegna, masterfully employs techniques that elevate this scene beyond simple religious illustration. Notice the masterful use of foreshortening – a signature element of Crivelli’s style – which dramatically compresses the space, pulling the viewer into the heart of the battle. The devil's head, positioned prominently at the bottom of the panel, is rendered with unsettling detail, highlighting his grotesque features and desperate struggle. Conversely, Michael’s face holds an expression of serene determination, a subtle contrast to the chaotic energy surrounding him.

    The Archangel: A Symbol of Divine Authority

    Saint Michael isn't just any angel; he is the Archangel, the chief warrior in God’s army. Within Christian iconography, he represents divine justice, protection, and victory over evil. The halo surrounding his head, a common symbol of holiness, emphasizes his elevated status. His armor, rendered with exquisite detail – polished metal reflecting light, intricate stitching – speaks to his martial prowess and unwavering commitment to defending humanity from demonic influence. The shield he holds aloft isn’t just a defensive tool; it's a visual declaration of God’s authority and Michael’s role as its representative.

    Historically, the figure of Michael has deep roots in Jewish tradition, where he served as Israel’s protector and advocate. This connection is reflected in the painting’s composition – the devil beneath Michael isn't simply a monstrous foe; he represents the forces arrayed against God’s chosen people. The scene thus resonates with themes of faith, struggle, and ultimately, triumph over adversity—a narrative that has captivated audiences for centuries.

    Renaissance Technique and Emotional Resonance

    Crivelli's skill as a painter is evident in the meticulous rendering of textures – the smooth sheen of Michael’s armor, the rough scales of the devil, the folds of his garments. He utilizes tempera on poplar wood, a technique favored during this period for its luminosity and ability to capture intricate detail. The use of vibrant colors—rich blues, reds, and golds—further enhances the painting's visual impact, creating a sense of drama and intensity. Beyond technical mastery, Crivelli imbues the scene with an emotional resonance that transcends mere representation; it speaks to the timeless struggle between good and evil, hope and despair.

    The panel’s enduring appeal lies in its ability to evoke both awe and contemplation. It's a reminder of humanity’s vulnerability in the face of darkness, but also of the unwavering strength and protection offered by divine grace. “Saint Michael” is more than just a painting; it’s a powerful testament to the enduring themes of faith, courage, and the eternal battle between light and shadow.

    Artist and museum

    Artist

    Carlo Crivelli

    Born in Venice, Italy

    early life and training

    carlo crivelli, an italian renaissance painter, was born in venice around 1430-35. he came from a family of painters and received his artistic formation in venice and padua. crivelli's early training is believed to have been under jacobello del fiore, who was still active in 1436. he also studied at the school of vivarini in venice.

    career and style

    crivelli spent his early years in the veneto, absorbing influences from vivarini, squarcione, and mantegna. by 1458, he left the veneto and spent most of his career in the march of ancona, developing a distinctive personal style that contrasts with that of his venetian contemporary giovanni bellini. crivelli's work is characterized by a conservative late gothic decorative sensibility, marked by a linear quality, attention to detail, and the use of "trompe l'oeil" techniques.

    notable works and collaborations

    * carlo crivelli's painting "madonna and child enthroned" (106 x 55 cm, museum of fine arts, budapest, hungary) is a prime example of his style. he collaborated with his younger brother vittorio crivelli on several projects. pietro alemanno, a painter who immigrated to the march of ancona from germany/austria, was his pupil and collaborator.

    museums and collections

    * the pinacoteca di brera in milan, italy, features several of crivelli's works, including "pietà" (128 x 241 cm). * the museum san giovanni in bragora in venice, italy, has a collection of artworks from various periods and styles, including some attributed to crivelli.

    view carlo crivelli's artworks on AllPaintingsStore.com

    explore jacopo robusti's works on AllPaintingsStore.com

    read more about carlo crivelli on wikipedia

    crivelli's legacy continues to inspire art enthusiasts and scholars alike, with his work remaining a testament to the enduring power of conservative late gothic decorative sensibility.

    Museum

    National Gallery

    On show in London, United Kingdom

    A Legacy of Visionary Collecting

    The story began in 1824, when the British government acquired thirty-eight paintings from the estate of John Julius Angerstein. This initial act of acquisition transformed a private collection into a public resource, establishing a foundation for what would become a central pillar of London's cultural landscape. Unlike many European institutions that grew from royal or princely holdings, this collection emerged through deliberate state action and the generosity of private donors, who eventually provided two-thirds of its contents.

    The halls now hold over 2,300 works, spanning from the mid-13th century to 1900. Visitors encounter the meticulous technique of Leonardo da Vinci in his Virgin of the Rocks, where the use of sfumato creates a profound sense of depth within a quiet grotto. The collection moves through the mythological narratives of Botticelli’s Primavera, noting the specific details of myrtle and orange blossoms, to the dramatic shadows of Caravaggio. These works represent a broad sweep of Western art history, including the heavy textures of Rembrandt and the light-filled canvases of the Impressionists.

    Architectural Evolution in Trafalgar Square

    The physical presence of the building reflects the changing needs of its collection. William Wilkins designed the neoclassical structure that faces Trafalgar Square, with a monumental façade that has remained largely unchanged since 1838. The design follows the ideals of Enlightenment rationality, utilizing grand columns and a symmetrical composition to project order. While the original stone exterior maintains its historical character, the institution has expanded to meet the demands of modern audiences.

    The addition of the Sainsbury Wing in 1996 introduced a Postmodernist element to the site, designed by Robert Venturi and Denise Scott Brown. This expansion allowed the institution to grow without erasing its architectural roots. Inside, the space is characterized by high ceilings and expansive galleries that provide the necessary scale for large-scale canvases. The building functions as a place where the weight of history meets contemporary architectural thought.

    A Continuous Dialogue with the Present

    The institution remains active through a rotating schedule of temporary exhibitions that bring new focus to specific eras or artists. Recent and upcoming programs include studies of landscapes by Waldmüller, the side-by-side presentation of Monet and Renoir, and explorations of German Expressionism from the early 20th century. These displays allow for a deeper look at individual movements, such as the portraits of Van Eyck or the religious intensity found in the works of Zurbaran.

    Beyond the permanent collection, the site serves as a center for learning and community engagement. The schedule includes:

    Guided tours that offer insights into the technical mastery of the Old Masters.

    Friday Lates, which extend viewing hours into the evening for a different atmosphere.

    Specialized talks and workshops focused on specific artistic themes.

    Digital resources including high-resolution images and virtual tours for global access.

    Where to read more

    Find this online

    QR code linking to the download page for Saint Michael

    originaluniqueart.com/en/art/download/carlo-crivelli-saint-michael-D3U48Z-en/

    Cite this artwork

    MLA
    Crivelli, Carlo. Saint Michael. 1476, National Gallery. https://originaluniqueart.com/en/art/carlo-crivelli-saint-michael-D3U48Z-en/
    APA
    Crivelli, Carlo (1476). Saint Michael [Painting]. National Gallery. https://originaluniqueart.com/en/art/carlo-crivelli-saint-michael-D3U48Z-en/
    Chicago
    Carlo Crivelli. Saint Michael. 1476. National Gallery. https://originaluniqueart.com/en/art/carlo-crivelli-saint-michael-D3U48Z-en/
    Harvard
    Crivelli, Carlo (1476) Saint Michael. National Gallery. Available at: https://originaluniqueart.com/en/art/carlo-crivelli-saint-michael-D3U48Z-en/

    Look closely

    Saint Michael — Carlo Crivelli

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: archangel michael, devil, battle. Do you agree? What would you add, or take away?
    4. Look back at Virgin and Child (1482), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Carlo Crivelli was about 41 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Saint Michael — Carlo Crivelli

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What biblical figure is depicted being struck by Michael’s sword in this painting?

      • A Moses
      • B David
      • C Abraham
    2. 2. According to the description, what artistic technique is prominently featured in Crivelli's depiction of Michael and Satan?

      • A Sfumato
      • B Foreshortening
      • C Chiaroscuro
    3. 3. In what century was this painting created, as indicated in the provided information?

      • A 14th Century
      • B 15th Century
      • C 16th Century
    4. 4. The painting is based on a scene from the Book of Revelation, where Michael battles against whom?

      • A Lucifer
      • B Satan
      • C Beelzebub
    5. 5. What is a key characteristic of Carlo Crivelli's artistic style, as mentioned in the artist information?

      • A Bold and vibrant colors
      • B A conservative late Gothic decorative sensibility
      • C Impressionistic brushstrokes

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2B · 3B · 4B · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    What kind of colors does "Saint Michael" use?

    "Saint Michael" by Carlo Crivelli uses an earthy color palette. The palette summarizes the work's overall color character.

    What is the dominant color of "Saint Michael" by Carlo Crivelli?

    The color that stands out most in "Saint Michael" is white (#f3f0ec). The dominant color is useful when matching an artwork to an interior.

    How does the subject of "Saint Michael" relate to Carlo Crivelli's usual themes?

    "Saint Michael" depicts archangel michael, devil, battle, sword, armour, foreshortening, religious, medieval, while Carlo Crivelli's recorded themes are crivelli’s venetian, late gothic style, biblical narrative, spiritual warfare, italian renaissance devotional themes, altarpiece component, religious commission, demonstrates foreshortening mastery. Comparing the two shows how the work relates to the artist's usual subjects.