(b ?Venice, ?1430–35; d Ascoli Piceno, before 3 Sept 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.

Part of the Crivelli family

• Crivelli, Carlo (Giovanni)
  • Crivelli
  • Italy, §III, 3(ii): Early Renaissance painting, c 1400–c 1500: Regional survey
  • Italy, §III, 3(ii)(b): Early Renaissance painting, c 1400–c 1500: Other centres
  • Venetian empire, §2: Art
  • collaboration
    • Crivelli, §I: (2) Vittore Crivelli
  • methods
    • Tempera, §1(ii): Later use, after c 1400
  • patrons and collectors
    • Benson, R. H.
    • Boxall, William
    • Graham, William
    • Leyland, F. R.
    • Mond: (1) Ludwig Mond
    • Solly, Edward
    • Varano
  • pupils
    • Alemanno, Pietro
  • works
    • Ancona
    • Ascoli Piceno
    • Crivelli, §I: (1) Carlo Crivell, §1(i): Training and early work, before 1465
    • Crivelli, §I: (1) Carlo Crivelli, §1(ii): Mature work, 1465 and after
    • Illusionism, §2(i)(a): Large-scale projects, c 1450–c 1600
    • Islamic art, §VI, 4(iii)(a): Carpets and flatweaves, c 1450–c 1700: Anatolia
    • Italy, §XIV, 4: Museums: The Napoleonic age and the Restoration