Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 227 works by Carlo Crivelli in our catalogue
In short
To the gallery's eye, Carlo Crivelli's most famous painting is Annunciation with Saint Emidius (1486), whose original hangs in the National Gallery, London. Pietà and Virgin and Child (1482) complete the trio every eye recognises. Of the 227 works by Carlo Crivelli in our catalog, the gallery presents the 100 most famous below, each original with its year, its museum and what makes it unique.
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…
Pietà1493 · 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
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Carlo Crivelli | Paintings from this list |
|---|---|---|---|
 National Gallery |
London | 27 | Annunciation with Saint Emidius, Annunciation with St Emidius (detail), Saint Lucy |
 Pinacoteca di Brera |
Milan | 10 | Virgin and Child, Pietà, 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 |
Venice | 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 |
Pick a decade to see the original that defines it.
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. Pietà and Virgin and Child (1482) come next.
51 years old: Annunciation with Saint Emidius dates from 1486, and Carlo Crivelli was born in 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 and Annunciation angel. The ranking above gives each one's year and museum.
Our catalog holds 227 works by Carlo Crivelli, dated from 1450 to 1493.
Mostly in National Gallery (London), Pinacoteca di Brera (Milan) and Musée du Petit Palais (Avignon). The museum table above lists them all.
In 1470s: 42 of the 100 works on this page were made then, Saint Lucy among them.
On this page, the earliest is Saint Lucy (1450) and the latest Pietà (1493).
Religious (27), Saints (23) and Man (19), across the 100 works on this page.
Tempera On Panel, for 37 of the 100 works on this page.
Early renaissance, judging by the originals on this page.
Annunciation with Saint Emidius, Annunciation with St Emidius (detail) and Saint Lucy: the National Gallery, London holds 10 of the works on this page.
Born in Venice, Carlo Crivelli emerged from a family of painters, a lineage that likely shaped his early understanding of the craft. His formative years were spent absorbing the stylistic currents of the Veneto, drawing from the Vivarini school and the linear precision of the Paduan tradition. He was a man of distinct, often stubborn, sensibilities. While his contemporaries moved toward the naturalism of the early Renaissance, Crivelli maintained a devotion to the decorative exuberance of the Late Gothic. This choice made him a singular figure in the fifteenth century, an artist who navigated the tension between the old ways and the new with a highly personal, almost mannered, expressionism.
His life was marked by a sudden departure from the Venetian center. In 1457, following a legal entanglement involving the seduction of a married woman, he left Venice. This period of exile led him toward the Marches, specifically the area around Ascoli Piceno. In these eastern Italian territories, he found a different kind of success, becoming a prolific maker of altarpieces. He was not a follower of the prevailing trends of the day; instead, he cultivated a style that prioritized clarity and a sharp, linear definition of form, often working in isolation from the major artistic shifts occurring in the larger Italian hubs.
Crivelli’s work is defined by a technical virtuosity that sought to bridge the gap between the sacred and the tangible. He was a master of trompe l'oeil, using paint to mimic the physical world with startling accuracy. He did not merely represent objects; he attempted to make them occupy the same space as the viewer. His surfaces are often crowded with simulated marble architecture, festoons of fruit, and parchment cartellini that seem to project from the panel. This obsession with materiality was central to his devotional intent, creating a sense of immediacy for those standing before his altarpieces.
His approach to color and light was both brilliant and deliberate. He utilized gold leaf, often punched with intricate patterns, to create an otherworldly glow that contrasted with the realistic textures of silk, jewels, and stone. His figures often possess an excessive pallor and a flawless complexion, rendered with sharp outlines that emphasize their sculptural quality. This combination of the highly decorative and the intensely realistic created a visual language that was uniquely his own, characterized by:
The works he left behind, many of which reside in collections such as the Pinacoteca di Brera and the National Gallery, reveal a painter of immense technical skill. His Madonnas and depictions of saints are marked by an unusual expressionism, where gestures are often exaggerated to convey deep feeling. He was a painter of the details, from the glint of a knight's armor to the delicate folds of a Virgin's drapery. Even as the Renaissance progressed toward different ideals of perspective and proportion, Crivelli remained committed to his meticulous, highly detailed vision, ensuring his place as one of the most distinctive voices of his era.
