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CRIVELLI, Carlo
Italian Early Renaissance Painter, ca.1430-1495 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,
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CRIVELLI, Carlo Annunciation with St Emidius fg oil painting


Annunciation with St Emidius fg

Painting ID::  6324 		CRIVELLI, Carlo
Italian Early Renaissance Painter, ca.1430-1495 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,
Annunciation with St Emidius fg
1486 Oil on wood transferred to canvas, 207 x 146,5 cm National Gallery, London
   
   
     
CRIVELLI, Carlo Coronation of the Virgin dgfd oil painting


Coronation of the Virgin dgfd

Painting ID::  6325 		CRIVELLI, Carlo
Italian Early Renaissance Painter, ca.1430-1495 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,
Coronation of the Virgin dgfd
1493 Panel, 225 x 255 cm Pinacoteca di Brera, Milan
   
   
     
CRIVELLI, Carlo Lamentation over the Dead Christ fdg oil painting


Lamentation over the Dead Christ fdg

Painting ID::  6326 		CRIVELLI, Carlo
Italian Early Renaissance Painter, ca.1430-1495 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,
Lamentation over the Dead Christ fdg
1485 Tempera on panel Museum of Fine Arts, Boston
   
   
     
CRIVELLI, Carlo The Madonna of the Taper dfg oil painting


The Madonna of the Taper dfg

Painting ID::  6327 		CRIVELLI, Carlo
Italian Early Renaissance Painter, ca.1430-1495 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,
The Madonna of the Taper dfg
Panel, 218 x 75 cm Pinacoteca di Brera, Milan
   
   
     
CRIVELLI, Carlo Madonna and Child; St Francis of Assisi dfg oil painting


Madonna and Child; St Francis of Assisi dfg

Painting ID::  6328 		CRIVELLI, Carlo
Italian Early Renaissance Painter, ca.1430-1495 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,
Madonna and Child; St Francis of Assisi dfg
1471-72 Wood, 183 x 59,5 cm (each) Mus??es Royaux des Beaux-Arts, Brussels
   
   
     
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     CRIVELLI, Carlo
     Italian Early Renaissance Painter, ca.1430-1495 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,

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