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Carlo Crivelli
1430-1495
Italian
Carlo Crivelli Locations
1495). He produced many large, multi-partite altarpieces in which his highly charged, emotional use of line, delight in detail, decoration and citric colours, often set against a gold ground, convey an intensity of expression unequalled elsewhere in Italy. His mastery of perspective was also used for dramatic impact. As he worked in isolation in the Marches, his style only had local influence. In the 19th century, however, he was one of the most collected of 15th-century Italian painters.
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James of the Marche with Two Kneeling Donors (mk05)
Wood 78 x 25 1/2''(198 x 65 cm)Entered the Louvre in 1862
Painting ID:: 20083
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James_of_the_Marche_with_Two_Kneeling_Donors_(mk05)
Wood 78 x 25 1/2''(198 x 65 cm)Entered the Louvre in 1862
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Annunciation whit St Emidius (mk08)
1486
Oil on canvas,Transferrde to wood
207x147cm
London National Gallery
Painting ID:: 21230
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Annunciation_whit_St_Emidius_(mk08)
1486
Oil on canvas,Transferrde to wood
207x147cm
London National Gallery
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Annunciation with St Emidius
mk86
1486
Oil on canvas,transferred to wood
207x147cm
London,National Gallery
Painting ID:: 33402
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Annunciation_with_St_Emidius
mk86
1486
Oil on canvas,transferred to wood
207x147cm
London,National Gallery
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Jakobus of the boy with the Hl. Philippus and Bernhard
mk148
Jakobus the boy to the left) considered usually to be Jesu brother becomes he holds a Tuchwalker-pole in the hand the tool its execution around 62n.Chr.)
Painting ID:: 39429
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Jakobus_of_the_boy_with_the_Hl._Philippus_and_Bernhard
mk148
Jakobus the boy to the left) considered usually to be Jesu brother becomes he holds a Tuchwalker-pole in the hand the tool its execution around 62n.Chr.)
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Madonna of the Passion
mk156
c.1460
Tempera on panel
71x48cm
Painting ID:: 40210
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Madonna_of_the_Passion
mk156
c.1460
Tempera on panel
71x48cm
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Carlo_Crivelli
1430-1495
Italian
Carlo Crivelli Locations
1495). He produced many large, multi-partite altarpieces in which his highly charged, emotional use of line, delight in detail, decoration and citric colours, often set against a gold ground, convey an intensity of expression unequalled elsewhere in Italy. His mastery of perspective was also used for dramatic impact. As he worked in isolation in the Marches, his style only had local influence. In the 19th century, however, he was one of the most collected of 15th-century Italian painters.
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ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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