Posodobljeno oktober 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 227 del v našem katalogu avtorja Karlo Krivelli
Kratek opis
Za oči galerije je najbolj znano sliko umetnika Karlo Krivelli delo Annunciation with Saint Emidius (1486), katere original visi v muzeju National Gallery, London. Pietà in Virgin and Child (1482) dopolnjujeta trijo, ki jo prepozna vsak pogled. Od 227 del avtorja Karlo Krivelli v našem katalogu galerija spodaj predstavlja 100 najbolj znanih; vsako je original z letom nastanka, pripadajočim mu muzejem in opisom tistega, kar ga dela edinstavnim.
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…
Pijeta1493 · 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 · Muzej lepih umetnosti
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 · Muzej umetnosti in arheologije Ashmolean
83
Virgin and Child Enthroned1476 · Muzej lepih umetnosti
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
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Karlo Krivelli | Slike iz tega seznama |
|---|---|---|---|
 National Gallery |
London | 27 | Annunciation with Saint Emidius, Annunciation with St Emidius (detail), Saint Lucy |
 Pinacoteca di Brera |
Milano | 10 | Virgin and Child, Pijeta, 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 |
Venecija | 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 |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
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. Zatem sledeta Pietà in Virgin and Child (1482).
51 let: delo Annunciation with Saint Emidius iz leta 1486, Karlo Krivelli pa je bil/a rojen/a leta 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 in Annunciation angel. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 227 del avtorja Karlo Krivelli, datiranih od 1450 do 1493.
Večini v National Gallery (London), Pinacoteca di Brera (Milano) in Musée du Petit Palais (Avignon). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1470s: 42 od 100 del na tej strani je bilo izdelovanih takrat, med njimi pa Saint Lucy.
Na tej strani je najstarejše delo iz Saint Lucy (1450) in najstarejše iz Pijeta (1493).
Religious (27), Saints (23) in Man (19), na 100 delih na tej strani.
Tempera On Panel, za 36 od 100 del na tej strani.
Zgodnja renesansa, glede na originala na tej strani.
Annunciation with Saint Emidius, Annunciation with St Emidius (detail) in Saint Lucy: v muzeju National Gallery, London se nahaja 10 del z te strani.
Rodjen v Benetkah, Karlo Krivelli je izrazil iz družine slikarjev, rodovoslovja, ki je verjetno oblikovalo njegovo zgodnje razumevanje tega kmetstva. Njegove formative leta so bila prebožena z vpijanjem stilskih tokov Venecije, kjer je črpal iz šole Vivarini in linearne natančnosti padovanske tradicije. Bil je človek izrazitih, pogosto trdovnih občutljivosti. Medtem ko so se njegovi sodobniki premikali proti naturalizmu zgodnje renesanse, je Karlo Krivelli ohranil predanost dekorativni obilju pozne gotike. Ta izbira ga je naredila za enega izmed enotnih likov petnastoletja, umetnika, ki je med napetostjo starega in novega ways navigiral z izjemno osebno, skoraj manieristično, ekspresivnostjo.
Njegovo življenje je zaznamalo nenadno odločitev za odhod iz venetskega središča. Leta 1457, po pravnem zapletu, ki je vključeval skladen odnos s poročeno ženo, je zapustil Benetke. Ta obdobje izgnostva ga je vodilo proti regiji Marca, natančneje v okolico Ascoli Picena. Na teh vzhodnih italijanskih ozemeljih je dosegel drugačen kind uspeha in postal plodni ustvarjalec oltarjev. Ni bil zavežen prevladujočim trendom svojega časa; namesto tega je negoval slog, ki je temeljil na jasnosti in ostri, linearni definiciji oblike, pogosto pa je delal v izolaciji od glavnih umetniških premikov, ki so se odvijali v večjih italijanskih središčih.
Krivellijevo del opredelja tehnična virtuoznost, ki je skušala premostiti razpino med svetim in oprijemljivim. Bil je mojster tehnike trompe l'oeil, s katero je z barvo zdivičast in z presenetljivim natančnim posnemil fizični svet. Objektov ni le predstavljal; poskušal je pripraviti, da bi zanimali isti prostor kot gledalec. Njegove površine so pogosto preobložene s simulirano marmorno arhitekturo, venčevmi sadja in pergamentnimi cartellini, ki se zdijo izstopati neposredno iz plošče. Ta obsesija z materialnostjo je bila ključna za njegov devocionalni namen, saj je ustvarjala občutek neposrednosti za tiste, ki so stali pred njegovimi oltarji.
Njegov pristop k barvi in svetlobi je bil hkr briljanten in načrtan. Uporabljal je zlato list, pogosto z zapletenimi vzorci, da bi ustvaril nadzemni sij, ki se je kontrastiral z realističnimi teksturami svilice, draguljev in kamna. Njegove figure pogosto posedujejo pretirlen bledo barvo in brezhibno čisto kožo, prikazano z ostrimi konturami, ki poudarjajo njihovo rezabno kakovost. Ta kombinacija visoko dekorativnega in intenzivno realističnega je ustvarila vizualni jezik, ki je bil edinstveno njegov, ki so ga odlikovali:
Dela, ki jih je pustil za sobą, od katerih se mnoga nahajajo v zbirkah, kot sta Pinacoteca di Brera in National Gallery, razkrivajo slikarja neizmerne tehnične veščiljenosti. Njegove Madone in prikazi svetih so zaznamani z neobičnim ekspresionizmom, kjer so gesti pogosto preobnaščeni, da bi izrazili globoko čustvo. Bil je slikar detajlov, od sijaja viteškega oklepa do nežnih gumb na Vedrini draperiji. Tudi ko se je renesansa premikala proti drugačnim idealom perspektive in proporcij, je Karlo Krivelli ostal zavezan svoji natančni, izjemno podrobni viziji, s čimer je zagotovil svoj položaj enega izmed najbolj prepoznavnih glasov svojega obdobja.
