Friday 22 December 2017

Carlo Crivelli - part 3

Carlo Crivelli was probably born in Venice during the early 1430s. Both his father, Jacopo, and his brother, Vittore, were painters. Carlo is mentioned only once in Venetian documents: in 1457, already a master painter, he was fined and sentenced to six months in prison for abducting a sailor's wife.

Though trained in the late Gothic style of Antonio Vivarini, as his earliest works show, and familiar with the drawings of Jacopo Bellini, from which some of his mature compositions derive, Crivelli was profoundly influenced by early Renaissance art in Padua.

For full biographical notes see part 1. For earlier works, see parts 1 and 2 also.

This is part 3 of a 3-part post on the works of Carlo Crivelli:


1482 Triptych of Camerino:
This work came to the Pinacoteca from the Church of San Domenico in 1811 after Napoleon's spoliations.
While transferring it, the original frame, which probably contained other scenes, was lost. Two of those scenes, the Announcing Angel and the Virgin Annunciate, also came to the Pinacoteca but were exchanged for other paintings. Two parts of the predella, however remained at the Pinacoteca.


1482 Triptych of Camerino
Pinacoteca de Brera, Milan, Italy

Virgin and Child
tempera on panel 190.5 x 78 cm
Virgin and Child detail

Saint 
tempera on panel 167 x 63 cm

Saint detail

Saint detail

*          *          *          *          *

1486 Crucifix with the Virgin and St John the Evangelist
oil on panel 218 x 75 cm
Pinacoteca di Brera, Milan, Italy

1486 The Annunciation, with Saint Emidius
oil on wood transferred to canvas 207 x 146.5 cm
 The National Gallery, London

1486 The Annunciation, with Saint Emidius detail

1486-88c St John the Baptist
tempera and gilding on panel 73 x 39 cm
The Ashmolean Museum of Art and Archaeology, Oxford, UK

1487-88c St Augustine
tempera on panel 140.7 x 39.5 cm
National Museum of Western Art, Tokyo, Japan

1487c The Crucifixion
tempera on panel 75 x 55.2 cm
Art Institute of Chicago, IL

1488 The Last Supper
oil and tempera on panel 26.7 x 75.3 cm
Musée des Beaux-Arts de Monréal, Quebec, Canada

1488-90 Madonna of the Candeletta
oil on panel 218 x 75 cm
Pinacoteca di Brera, Milan, Italy

1488c Virgin and Child Enthroned with Saints
tempera on panel 191 x 196 cm
Gemäldgalerie - Staatliche Museen zu Berlin, Germany

1489c The Vision of the Blessed Gabriele oil and egg tempera on poplar wood 141 x 87 cm
The National Gallery, London

after 1490 Altarpiece from S. Francesco dei Zoccolanti, Matelica "La Madonna della Rondine" 
( The Madonna of the Swallow ) 
oil and egg tempera on poplar 150.5 x 107.3 cm The National Gallery, London

after 1490 Predella of La Madonna della Rondine

after 1490 Predella of La Madonna della Rondine detail
St George and the Dragon

1490 Maria Magdalena
tempera on panel 152 x 49 cm
Rijksmuseum, Amsterdam, The Netherlands

1490-1500 Saint Francis Collecting the Blood of Christ
panel 20 x 16.3 cm
Museo Poldi Pezzoli, Milan, Italy

1490c Madonna and Child
tempera on panel 32.8 x 24.7 cm
National Gallery of Art, Washington, DC

1490c Saint Augustine
oil on panel with gold ground 50 x 15 cm
Musée du Petit Palais, Avignon, France

1490c Saint Lucy
oil on panel with gold ground 50 x 15 cm
Musée du Petit Palais, Avignon, France

1490c Saint Nicholas
oil on panel with gold ground 50 x 15 cm
Musée du Petit Palais, Avignon, France

1490c St Jerome and St Augustine
tempera on wood 208 x 72 cm
Gallerie dell'Accademia, Venice

1490c St Peter and St Paul
tempera on wood 208 x 73 cm
Gallerie dell'Accademia, Venice
1490c Virgin and Child with Saints and Donor
tempera and gold leaf on panel 97.8 x 82.5 cm
The Walters Art Museum, Baltimore, MD

1491 The Virgin and Child with Saints Francis and Sebastian
oil and egg tempera on poplar wood 175 x 151 cm
The National Gallery, London

1491-94c Saint Catherine of Alexandria ( panel from a Frame or Predella )
tempera on lime wood 38 x 19 cm
The National Gallery, London

1491-94c Saint Mary Magdalene
tempera on lime wood 37.5 x 18.5 cm
The National Gallery, London

1491c The Madonna of the Swallow
oil and tempera on panel 150.5 x 107.3 cm
National Gallery, London

1492 The Immaculate Conception
egg tempera on wood 194.3 x 93.3 cm
The National Gallery, London

1493 Coronation of The Virgin ( Mary )
tempera on panel 155 x 155 cm
Palazzo Brera, Milan, Italy

1493 Coronation of The Virgin ( Mary ) detail

1493c Pietà
tempera on wood 128 x 241 cm
Pinacoteca di Brera, Milan, Italy

1499 The Sweat Cloth of Saint Veronica
39.5 x 29 cm
Rijksmuseum, Amsterdam, The Netherlands

n.d. Madonna and Child at a Marble Parapet
tempera on panel 61.3 x 44 cm

n.d. Pietà
tempera on wood 105 x 205 cm
Musei Vatican, Rome

n.d. Pietà detail


Wednesday 20 December 2017

Carlo Crivelli - part 2

Carlo Crivelli was probably born in Venice during the early 1430s. Both his father, Jacopo, and his brother, Vittore, were painters. Carlo is mentioned only once in Venetian documents: in 1457, already a master painter, he was fined and sentenced to six months in prison for abducting a sailor's wife.

Though trained in the late Gothic style of Antonio Vivarini, as his earliest works show, and familiar with the drawings of Jacopo Bellini, from which some of his mature compositions derive, Crivelli was profoundly influenced by early Renaissance art in Padua.

For full biographical notes, and for earlier works, see part 1 also.

This is part 2 of a 3-part post on the works of Carlo Crivelli:


1473 Polyptych of St Emidio Cattedrale di Sant'Emidio, Ascoli Piceno.

The Sant’Emidio Polyptych is exactly in the same place where it was first put in 1473. It was commissioned to the Venetian painter Carlo Crivelli (ca. 1430 – ca. 1490) by the bishop of Ascoli Piceno, Prospero Caffarelli, and was placed in Sant’Emidio cathedral – never to be moved.
The painting – tempera and gold on panel, its central panel reading “Opus Karoli Crivelli Veneti 1473” – was originally placed in the chapel of the Holy Sacrament. It is a rare example of well-preserved pictorial art from the 1400s. Even more extraordinary is the fact that it is still in the same building after centuries.
The polyptych is about 290×280 centimetres, divided into three rows:

1473 Polyptych of St Emidio Cattedrale di Sant'Emidio, Ascoli Piceno


St Catherine of Alexandria and Saint Jerome

St Catherine of Alexandria

Saint Jerome

Pietà

Saint George and Saint Ursula

Saint George

Saint Ursula
  
Madonna and Child

Madonna and Child detail


Saint Peter



Saint Bartholomew



Saint James


1475c St. Catherine of Alexandria, St. Peter, and Mary Magdalene tempera on wood panels S. Lucia, Montefiore dell'Aso, Italy:



St. Catherine of Alexandria, St. Peter, and Mary Magdalene

St. Catherine of Alexandria detail
St. Peter
Mary Magdelene

Mary Magdelene detail


1476 The Demidoff Altarpiece:


This altarpiece was painted by Crivelli in 1476 to sit on the high altar of the church of San Domenico in Ascoli Piceno, in east central Italy. The polyptych was composed of the central panel and eight smaller panels with saints. Originally there was a predella (a lower section of the altarpiece ), now lost, and a lunette-shaped Pietà above (now in the Metropolitan Museum of Art, New York.)

1476 Pietà
tempera on wood 71.1 x 63.8 cm
The Metropolitan Museum of Art, New York
1476 The Demidoff Altarpiece
The National Gallery, London


1476 Saint Francis
tempera on poplar wood 61 x 39.5 cm
The National Gallery, London

1476 Saint Andrew
tempera on poplar wood 61 x 40 cm
The National Gallery, London

1476 Saint Stephen
tempera on poplar wood 61 x 40 cm
The National Gallery, London

1476 Saint Thomas Aquinas
tempera on poplar wood 60.5 x 39.5 cm
The National Gallery, London

1476 Saint John the Baptist
 tempera on poplar wood 138.5 x 40 cm
The National Gallery, London

1476 Saint Peter
 tempera on lime wood 139 x 40.5 cm
The National Gallery, London

1476 The Virgin and Child
tempera on lime wood 148.6 x 63.5 cm
The National Gallery, London

1476 Saint Catherine of Alexandria 
tempera on poplar wood 137.5 x 40 cm 
The National Gallery, London

1476 Saint Dominic
tempera on poplar wood 137.5 x 40 cm
The National Gallery, London

1476c Altarpiece, Ascoli Piceno:

From the same church as The Demidoff Altarpiece (above).


1476c Saint Jerome
tempera on poplar wood 91 x 26 cm
The National Gallery, London

1476c Saint Lucy
tempera on lime wood 91 x 26.5 cm
The National Gallery, London

1476c Saint Michael
tempera on poplar wood 90.5 x 26.5 cm
The National Gallery, London

1476c Saint Peter Martyr
tempera on poplar wood 90.5 x 26.5 cm
The National Gallery, London
*          *          *          *          *

1475c The Dead Christ between the Virgin and Saint John the Evangelist
tempera on panel transferred to canvas Restored by Luigi Cavenaghi, Italian ( Caravaggio 1844 - 1918 Milan ) 66.4 x 64 cm
 Fogg Museum of Art, Harvard University, Boston, MA


1476-77 Madonna and Child Enthroned
tempera on panel
 Szémüvészeti Múzeum, Budapest, Hungary

1477 St James of the Marches with Two Kneeling Donors
wood panel 198 x 64 cm
Musée du Louvre, Paris

1480 Adoration of the Shepherds
tempera on wood
1480 Adoration of the Shepherds 
tempera on wood
( detail )

1480 Adoration of the Shepherds 
tempera on wood
( detail )

1480-86 Madonna and Child
tempera on wood 21 x 15.5 cm
Pinacoteca Comunale Podesti, Ancona, Italy

1480c Madonna and Child
tempera and gold on wood 36.5 x 23.5 cm
Metropolitan Museum of Art, New York

1480c Saint Roch
tempera and oil on lime wood panel 40 x 12.1 cm
The Wallace Collection, London

1480c The Virgin and Child
tempera on panel 48.5 x 33.6 cm
Victoria and Albert Museum, London

1485 Lamentation over the Dead Christ
tempera on panel 88.3 x 53 cm
 Museum of Fine Arts, Boston, MA

1485-90 Madonna and Child with Saints and Donor
oil and tempera on panel
Walters Art Museum, Baltimore, MD

1485-90c Christ of Mockery
tempera on panel
Kröller-Müller Museum, Otterlo, The Netherlands