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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Carlo Crivelli James of the Marche with Two Kneeling Donors (mk05) oil


James of the Marche with Two Kneeling Donors (mk05)
Painting ID::  20083 		James of the Marche with Two Kneeling Donors (mk05)
Wood 78 x 25 1/2''(198 x 65 cm)Entered the Louvre in 1862
Wood_78_x_25_1/2''(198_x_65_cm)Entered_the_Louvre_in_1862
   
   
     
Carlo Crivelli Annunciation whit St Emidius (mk08) oil


Annunciation whit St Emidius (mk08)
Painting ID::  21230 		Annunciation whit St Emidius (mk08)
1486 Oil on canvas,Transferrde to wood 207x147cm London National Gallery
   
   
     
Carlo Crivelli Annunciation with St Emidius oil


Annunciation with St Emidius
Painting ID::  33402 		Annunciation with St Emidius
mk86 1486 Oil on canvas,transferred to wood 207x147cm London,National Gallery
   
   
     
Carlo Crivelli Jakobus of the boy with the Hl. Philippus and Bernhard oil


Jakobus of the boy with the Hl. Philippus and Bernhard
Painting ID::  39429 		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.)
   
   
     
Carlo Crivelli Madonna of the Passion oil


Madonna of the Passion
Painting ID::  40210 		Madonna of the Passion
mk156 c.1460 Tempera on panel 71x48cm
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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