DOI Page / Citation link:
https://doi.org/10.11588/diglit.68073#0154
128
OLD WORLD MASTERS
a fly. The step is inscribed: “ Carolvs Crivellvs Venetvs Pinsit,
1472.”
"The effect is archaic and almost Byzantine,” G. McNeil Rushforth
writes in his Carlo Crivelli (London, 1900), “but its merits are very
great.” “Though on a comparatively small scale the decorative effect
is superb. The Child’s head is heavy and inferior to that of the Virgin,
but the action is lively and realistic. The great charm, however, of
the picture is the Virgin. Her features are not beautiful and the draw-
ing of the hands might be criticized. But if ever grace and dignity
were conceived and executed by Crivelli, they are here. Preeminently
does this Virgin possess all that we understand by distinction. Taken
separately, the turn of the head and the action of the fingers might be
called affected. But they do not offend as parts of the whole, so per-
fectly has the artist defined the ideal that was before his mind. A
curious feature in the picture is the treatment of the drapery. The
folds of the brocaded mantle are more elaborate than anything which
Crivelli had yet attempted, and they are expressed by clear-cut lines
without any shadow.”
MADONNA AND CHILD.
Carlo Crivelli Collection of
{1430?-149 3?}. Mr. Philip Lehman.
This beautiful picture belongs to Crivelli’s greatest period, when the
artist had reached the height of his powers, had attained perfect com-
mand of the problems of composition, and had gained the technique
to represent those materials he delighted in,—such as brocades, mar-
bles, and garlands of fruit, which he always combined with such deco-
rative beauty. Roger Fry says of this picture: “It has, in a supreme
degree, the delicacy and the almost metallic incisiveness of Crivelli’s
contour as well as the firmness and brilliance of his painting. The
Madonna supporting the Child upon her right arm, is seated in one of
those sumptuous Renaissance thrones, which Crivelli loved to elabo-
rate with every conceivable ingenuity of invention. Though the forms
are intended to be Classic, it is evident from the proportions of the
OLD WORLD MASTERS
a fly. The step is inscribed: “ Carolvs Crivellvs Venetvs Pinsit,
1472.”
"The effect is archaic and almost Byzantine,” G. McNeil Rushforth
writes in his Carlo Crivelli (London, 1900), “but its merits are very
great.” “Though on a comparatively small scale the decorative effect
is superb. The Child’s head is heavy and inferior to that of the Virgin,
but the action is lively and realistic. The great charm, however, of
the picture is the Virgin. Her features are not beautiful and the draw-
ing of the hands might be criticized. But if ever grace and dignity
were conceived and executed by Crivelli, they are here. Preeminently
does this Virgin possess all that we understand by distinction. Taken
separately, the turn of the head and the action of the fingers might be
called affected. But they do not offend as parts of the whole, so per-
fectly has the artist defined the ideal that was before his mind. A
curious feature in the picture is the treatment of the drapery. The
folds of the brocaded mantle are more elaborate than anything which
Crivelli had yet attempted, and they are expressed by clear-cut lines
without any shadow.”
MADONNA AND CHILD.
Carlo Crivelli Collection of
{1430?-149 3?}. Mr. Philip Lehman.
This beautiful picture belongs to Crivelli’s greatest period, when the
artist had reached the height of his powers, had attained perfect com-
mand of the problems of composition, and had gained the technique
to represent those materials he delighted in,—such as brocades, mar-
bles, and garlands of fruit, which he always combined with such deco-
rative beauty. Roger Fry says of this picture: “It has, in a supreme
degree, the delicacy and the almost metallic incisiveness of Crivelli’s
contour as well as the firmness and brilliance of his painting. The
Madonna supporting the Child upon her right arm, is seated in one of
those sumptuous Renaissance thrones, which Crivelli loved to elabo-
rate with every conceivable ingenuity of invention. Though the forms
are intended to be Classic, it is evident from the proportions of the