May 22
Saint Michael, detail (Crivelli, 1476)
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Saint Michael, detail (Crivelli, 1476)
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Carlo Crivelli — Saint Catherine of Alexandria (detail). 1476
sophs-style:
Sofia Resing (wearing Georges Hobeika) at the amfAR Venice Gala 2022 which took place during the 79th Venice Film Festival on Wednesday (7th September 2022) in Italy.
La Madonna della Rondine, Carlo Crivelli, 1490
He had a very tough time last week... just for us... Carlo Crivelli!    Here • The Dead Christ supported by Two Angels • from c.1475-80.     Even if your admiration for Italian Renaissance painting is more culturally received than deeply felt, Crivelli is your man.     In the 1460s, Crivelli was banished from Venice for committing adultery. He subsequently moved to the Marches region of northeast Italy, devoting his talents almost exclusively to religious commissions for churches and individuals.     Being very successful during his life, after his death in 1495, his reputation declined rapidly and his art has spent most of the last 526 years languishing on the margins of art history, considered parochial, conservative and overly decorative if not decadent. It also didn’t help that Vasari didn’t mention him in his “Lives of the Artists,” which concentrated on the creatives of Florence and Venice and steered generations of scholars in the same direction.     Yes, the naturalistic trends arising in Florence during his lifetime, are not visible in these works.   Yes, the Gothic gold, which he punched with brocaded patterns or integrated into his scenes with overpainting, while adding gold touches to other areas are often there.   Yes, he employed pastiglia, building up images with low-relief plaster that he painted and gilded, heightening the presence of precious details.     Yes, it is all there, fabulously and bold.     This frameless masterpiece of Renaissance (sur)realism was originally the pinnacle, or crowning element, of an altarpiece, probably for an Dominican convent.     The Dominicans are known for dwelling on the suffering of Christ, as well is Crivelli.   Do you see the wounds, graying skin and angels tears?      #carlocrivelli #crivelli #art #artist #painter #tempera #gold #panel #fashion #arthistory #miracle #storytelling #passion #christ #angels #pieta #magic #sorrow #death #realism #surrealism #gothic #religiousart #renaissance #figuration #figurative #figurativeart #theamazingpoppingeyes #philadelphia https://www.instagram.com/p/CNS9upJAF8C/?igshid=1xscset1appp
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Crivelli
Carlo Crivelli, The Annunciation, with Saint Emidius, 1486
Crivelli was a Venetian-born artist who worked outside of Venice for most of his career. However, he was heavily influenced by Venetian and Paduan painting as well as earlier Gothic art, which was retardataire in fifteenth-century Italy (1).
There is a lot happening in this ornate oil and tempera altarpiece by Crivelli. He literally depicts a line of divine golden light beaming down from the clouds through a small window to Mary, who kneels inside with her ams crossed. Just outside the window are two kneeling figures, the angel Gabriel and St. Emidius holding a miniature of the town where the altarpiece was commissioned (2). My favourite element is the apple and cucumber on the ledge, protruding out of the picture plane. (Similar to Venetian artist Giovanni Bellini’s slightly later Madonna of the Pear (1488)). This was a common strategy in early modern painting throughout Europe. Works like Titian’s Portrait of Girolamo(?) Barbarigo (1510) depicts the man’s sleeve hanging over an illusionistic flat stone ledge in the foreground, seemingly bringing the subject into the real world. Just as Brown et al. argue that the placement of the fruit in the Bellini Madonna “underline[s] its symbolic significance” (3), it is likely that Crivelli understood the iconography of these fruits and included them to symbolize original sin as well as “salvation through the instrumentality of Mary” and “Resurrection and Salvation” (4).
1. Daniel Catton Fund, "A Crucifixion by Carlo Crivelli," Bulletin of the Art Institute of Chicago 23, no. 9 (1929): 145.
2. “The Annunciation, with Saint Emidius,” The National Gallery Online, https://www.nationalgallery.org.uk/paintings/carlo-crivelli-the-annunciation-with-saint-emidius.
3. David Alan Brown, Sylvia Ferino Pagden, and Jaynie Anderson, Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting (New Haven: Yale University Press, 2006), 58.
4. Ronald Lightbown, Carlo Crivelli (New Haven: Yale University Press, 2004), 204.
Diamond, brown diamond, and pink gold ring, Crivelli (at Dupuis)