subtle jokes hidden in the paintings of a Renaissance master


The manipulation of Trompe-l’Ouille and the painting space is evident throughout the history of Renaissance art. For example, the extraordinary illusionism between Mantegna’s couple, 1474, but when used in combination, it’s a particularly subtle and telling game. Crivelli’s Trompe-l’Ouille device aims to suggest and undermine the illusions of his work.

For example, flies not only appear in his paintings as a symbol of sin and evil, but are also used to assert the importance of artwork. His “Jones” Madonna and St. Catherine feature flies that appear to be “inside” the photo, respectively, from the V & A and the National Gallery, but after a while they are scaled to fit the painting itself. Notice that (by the way, the viewer). These are in the photo, not the flies in the photo. They remind us that we are looking at paintings-objects in the world of objects that cannot replace the vision of heaven as given to the blessed Gabriele, in theory everything. Finally given to the faithful person of.

One-point perspective was developed during the Renaissance to create a pictorial space, to maintain the illusion that the surface of the painting is like a window to another world. Crivelli’s Annunciation with St. Emygdius, considered by many to be his masterpiece, is a perspective retreat of architecture that radiates around the “vanishing point” at the end of the street where the angel Gabriel landed. Shows a grasp. In this respect, it is in line with the expectations of the mainstream Renaissance paintings that Davis advocates, but a closer look reveals that Cliveri’s boldness, slicing the scene with the rays of heavenly light. It’s like he’s erasing the humanist’s plans. With an unusual intellect, he reminded viewers that the way of God was not their way.

Ikon’s exhibition was made possible by the first Ampersand Foundation Award dedicated to realizing the “Curator’s Dream” and a partnership with the National Gallery. Four works, including The Annunciation, The Blessed Gabriele and St Catherine, have been rented, consistent with a special exhibition at the National Museum of Crivelli’s magnificent Demidov altarpiece. Besides V & A, there are also lenders such as Vatican City, Berlin Painting Museum, National Trust. The Wallace Collection, which has recently begun to lend to other institutions, is generous with the paintings of St. Roch in Cliveri. It depicts a saint who is small, intense, and respected for his healing powers. He probably had great significance for Crivelli, who lost his son to the plague in 1487.

Shadows on the Sky: Carlo Crivelli, curated by Jonathan Watkins and Amanda Hillium, will be in Birmingham’s Icon Gallery from Wednesday to May 29th.



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