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Student Artwork Guide

St Jerome and St Augustine

Name Class Date

Carlo Crivelli, St Jerome and St Augustine (1490), Gallerie dell'Accademia di Venezia. 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
1490
Original size
208 x 72 cm
Held at
Gallerie dell'Accademia di Venezia originaluniqueart.com/en/museums/gallerie-dell-accademia-di-venezia-venice/

In context

St Jerome and St Augustine — Carlo Crivelli

How big is it?

The original measures 208 × 72 cm (height × width), drawn here beside an adult of average height. It is too large to draw to scale on this page.

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 55. The artist lived to 60. 78 of the 105 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Carlo Crivelli (1435–1495) ▲ this work, 1490 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-st-jerome-and-st-augustine-8XZCZK-en/

Colours

Measured from the image

    Main colour

    Espresso #4e2d23

    Catalogued palette

    • #4E2D23
    • #A8271E
    • #A97C4A
    • #7D5232

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

    Palette
    Dark The dominant colour family in the image.
    Main colour name
    Espresso
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene 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
    Clear Color Presence 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 2.3%
    4. 4 St Jerome and St Augustine (detail), 1490 2.3%
    5. 5 St George, 1472 2.3%
    6. 6 St Jerome and St Augustine, 1490 this painting 2.3%
    7. 7 Polittico di Ascoli Piceno 2.3%
    8. 8 St. Thomas of Aquino 2.3%
    9. 9 María Magdalena 1 2.3%
    10. 10 Apostol St. Peter 2.3%
    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 Saint Michael, 1476 1.6%
    17. 17 Apostles, 1473 1.6%
    18. 18 Saint John the Baptist, 1468 1.6%
    19. 19 Coronation of the Virgin, 1493 1.6%
    20. 20 St Peter and St Paul, 1490 1.6%

    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 6 of them, with 2.3% 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.

    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

    Gallerie dell'Accademia di Venezia

    On show in Venice, Italy

    A Venetian Soul: Unveiling the Gallerie dell’Accademia

    Nestled within the labyrinthine heart of Venice, a stone's throw from the bustling Grand Canal yet offering an oasis of quiet contemplation, lies the Gallerie dell’Accademia – more than simply a museum; it’s a profound immersion into the very soul of Venetian art. Founded in 1750 as the academy for artists and sculptors that shaped this extraordinary city, its origins are deeply intertwined with Venice's illustrious past as a maritime republic and a global center of commerce and culture. Originally housed within the Scuola della Carità – a complex dating back to the 14th century and incorporating elements designed by the renowned architect Andrea Palladio – the gallery’s walls whisper tales of artistic patronage, political intrigue, and the enduring legacy of a city that once ruled the waves. Today, it stands as a testament to Venice’s commitment to preserving its artistic heritage, offering visitors a breathtaking journey through five centuries of Venetian painting, from the echoes of Byzantine influence to the vibrant brushstrokes of the late Baroque. The gallery isn't merely a repository of beautiful paintings; it’s a narrative unfolding across time, a living chronicle of Venice itself.

    The collection is a magnificent tapestry woven with the threads of Venetian history and artistic innovation. It begins with the profound impact of Byzantium on Venetian art – an influence that permeated early works by artists like Jacopo Bassano and his sons. Their canvases shimmer with a luminous palette, capturing the ethereal quality of light so characteristic of Venice, and employing an atmospheric perspective that foreshadowed the Renaissance. These weren’t simply depicting scenes; they were distilling the very spirit of the city onto canvas—the gondolas gliding through the canals, the masked balls in opulent palaces, the everyday rituals of a thriving mercantile society. The gallery then unfolds into the vibrant world of Bellini, Carpaccio, and Titian – masters who captured the essence of Venetian life, light, and color with unparalleled sensitivity. They skillfully blended religious iconography with humanist observation, creating images that resonate with both spiritual depth and artistic brilliance. The 16th century is truly dazzling, showcasing the dramatic compositions and theatrical lighting of Tintoretto and Veronese – artists who pushed the boundaries of perspective and narrative within their canvases, creating monumental works that dominate the gallery space. Tintoretto’s masterful use of chiaroscuro—the interplay between light and dark—transforms scenes into emotionally charged dramas, drawing viewers into the heart of Venetian society and religious fervor. Veronese's opulent frescoes celebrate Venetian grandeur and commemorate significant events with meticulous detail and vibrant color palettes.

    A City Reflected: Canaletto’s Urban Vision

    Moving into the 17th century, the collection reveals a Venice transformed – its canals, palaces, and bustling markets immortalized with meticulous detail and a keen eye for urban life. The works of Canaletto are particularly captivating; his panoramic views offer an intimate glimpse into the daily rhythm of Venetian existence, capturing not just architectural grandeur but also the subtle nuances of everyday life—merchants haggling in marketplaces, families enjoying leisurely meals, and citizens engaging in social gatherings. His painstaking realism – combined with a masterful understanding of atmospheric perspective – creates images that transport viewers directly to Venice’s vibrant streets and squares. The inclusion of works by Giorgione, Guardi, and Longhi adds layers of complexity to the Venetian artistic tradition, demonstrating the diverse influences that shaped this unique style. These artists weren't just documenting a city; they were shaping its image, preserving it for posterity through their art.

    Treasures Within Walls: Key Masterpieces

    While the entire collection is worthy of admiration, certain pieces command particular attention. Leonardo da Vinci’s “Vitruvian Man,” a remarkably preserved drawing from his Milanese period, is undoubtedly the gallery's most celebrated treasure – a testament to its historical role as an artistic institution and a symbol of Venice’s enduring fascination with knowledge and beauty. Beyond this iconic work, visitors should seek out Titian’s “Bacchus and Ariadne,” a masterpiece of color and sensuality; Tintoretto’s monumental “Sacrifice of Isaac,” a dramatic depiction of religious narrative that fills an entire wall with its scale and dynamism; and Canaletto's series of views of Venice, offering an intimate glimpse into the daily life of the city—from bustling markets to elegant salons. The gallery also houses numerous works by lesser-known but equally talented artists, providing a comprehensive overview of Venetian painting during its golden age. The detail in each piece speaks volumes about the skill and dedication of the artists who brought these scenes to life.

    Architectural Harmony & Historical Context

    The Gallerie dell’Accademia isn't merely housed within a beautiful building; it is part of the architectural fabric of Venice. The Scuola della Carità, with its graceful façade and serene courtyard, provides an ideal setting for the artworks it houses. Its history is intertwined with that of the city itself – from its origins as a charitable institution to its transformation into a prestigious art academy and finally, a world-renowned museum. The careful preservation of the original structure—a blend of medieval and Renaissance styles—is itself a work of art, reflecting Venice’s unique architectural heritage. Its location on the south bank of the Grand Canal offers stunning views of the city and its waterways, further enhancing the sense of immersion. The gallery's very existence is a testament to Venice’s commitment to preserving not just its artistic treasures but also its historical identity.

    A Living Legacy: Exhibitions & Visitor Information

    The Gallerie dell’Accademia regularly hosts temporary exhibitions that delve deeper into specific themes or artists within the collection, often featuring loans from other museums around the world. These events provide fresh perspectives on Venetian art and its influence. The museum also offers a range of educational programs, including guided tours, workshops, and lectures, catering to both seasoned art enthusiasts and newcomers alike. Keep an eye on their website for announcements about upcoming exhibitions and events – they frequently host special displays that illuminate the stories behind the paintings and the artists who created them. A visit here is more than just a museum trip; it’s a chance to step back in time and experience the magic of Venice. Allow ample time for your exploration—there's a great deal to see and absorb, from the grand scale of Tintoretto’s masterpieces to the intimate details captured by Canaletto. Don’t forget to explore the surrounding Dorsoduro district with its artisan shops and trattorias for an authentic Venetian experience.

    Where to read more

    Find this online

    QR code linking to the download page for St Jerome and St Augustine

    originaluniqueart.com/en/art/download/carlo-crivelli-st-jerome-and-st-augustine-8XZCZK-en/

    Cite this artwork

    MLA
    Crivelli, Carlo. St Jerome and St Augustine. 1490, Gallerie dell'Accademia di Venezia. https://originaluniqueart.com/en/art/carlo-crivelli-st-jerome-and-st-augustine-8XZCZK-en/
    APA
    Crivelli, Carlo (1490). St Jerome and St Augustine [Painting]. Gallerie dell'Accademia di Venezia. https://originaluniqueart.com/en/art/carlo-crivelli-st-jerome-and-st-augustine-8XZCZK-en/
    Chicago
    Carlo Crivelli. St Jerome and St Augustine. 1490. Gallerie dell'Accademia di Venezia. https://originaluniqueart.com/en/art/carlo-crivelli-st-jerome-and-st-augustine-8XZCZK-en/
    Harvard
    Crivelli, Carlo (1490) St Jerome and St Augustine. Gallerie dell'Accademia di Venezia. Available at: https://originaluniqueart.com/en/art/carlo-crivelli-st-jerome-and-st-augustine-8XZCZK-en/

    Look closely

    St Jerome and St Augustine — 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. Look back at Virgin and Child (1482), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Carlo Crivelli was about 55 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

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

    Questions & Answers

    How is the palette of "St Jerome and St Augustine" by Carlo Crivelli described?

    The colors of "St Jerome and St Augustine" form a dark palette. This classification describes the dominant color families.

    Is "St Jerome and St Augustine" by Carlo Crivelli in the public domain, and why?

    The copyright status of "St Jerome and St Augustine" - in the public domain - its copyright has expired - follows from the artist's death in 1495.

    Did "St Jerome and St Augustine" stay in its artist's homeland?

    Yes - the artwork is kept in the artist's home country. The birth country of Carlo Crivelli is Italy, and the museum holding the original of "St Jerome and St Augustine" is in Italy.