Pietà - Carlo Crivelli
Archival giclée
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Description
This Pietà by Carlo Crivelli, an Italian Early Renaissance painter, depicts the dead Christ supported by two weeping angels. The painting is characterised by its stark realism, decorative details, and emotional intensity.
Carlo Crivelli's Pietà is a tempera on panel painting that exemplifies the artist's distinctive style within the Early Renaissance. Crivelli, an Italian painter known for his decorative linearism and attention to detail, created works that often featured emotional intensity and a certain degree of realism, set against gilded backgrounds. This painting depicts the dead Christ supported by two weeping angels, a common theme in Christian art intended to evoke pathos and contemplation on mortality. The composition is characterised by the stark, almost sculptural, rendering of Christ's body, which contrasts with the delicate features of the angels. The artist's use of colour, particularly the contrast between the pale flesh tones and the gold background, enhances the dramatic effect. The background itself is ornamented with a tooled pattern, a hallmark of Crivelli's style that adds to the overall richness of the work. The angels' expressions of grief are rendered with a degree of emotional realism, contributing to the painting's overall impact. Crivelli's Pietà reflects the artistic conventions of its time, while also showcasing the artist's individual approach to religious subject matter. His work provides insight into the cultural and spiritual values of the Renaissance period, as well as the artistic techniques employed by painters during this era.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Pietà - Carlo Crivelli
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Carlo Crivelli
He had left Venice by 1458, possibly following a conviction for adultery in 1457 that may have made continued residence uncomfortable. The Marche towns, Ascoli Piceno above all, became his territory. He painted nothing but religious subjects: polyptychs, Madonnas, altarpieces designed for specific church niches where the gold-ground backgrounds and the theatrical use of festoons, fruit, and cucumbers would catch the light at specific hours.
The 1486 Annunciation with Saint Emidius, now in the National Gallery in London, is the work that most condenses his method. The architectural setting is precise and Flemish in its love of depth and surface texture; the figures are described with a wiry, almost metallic clarity that owes something to engraving. On the panel he signed it "Opus Caroli Crivelli Veneti Militis", he had been knighted by the Prince of Capua that same year.
His style was conservative by the standards of the 1480s, when Bellini was moving towards atmospheric sfumato and Venetian colour. Crivelli's answer was greater elaboration, not revision.
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