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Saint John the Baptist

Carlo Crivelli1476

The National Gallery, London

The National Gallery, London
London, United Kingdom

This striking half-naked figure is Saint John the Baptist. He comes from a large polyptych (multi-panelled altarpiece) which Crivelli painted in 1476 for the high altar of the church of San Domenico, in Ascoli Piceno in the Italian Marche. Crivelli’s attention to detail is such that we can see the sinews and veins of John’s hands and feet, and the individual hairs on his head and on the inside of the skin laced around him.

John stands in wilderness of pink rocks scattered with bare trees. A clear stream flows along the front of the painting, and reeds sprout up along the water’s edge. The barren landscape and the saint’s camel-skin apron allude to the years John spent as a hermit in the desert, punishing his body with uncomfortable clothes and poor food to bring him closer to God.

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  • Title: Saint John the Baptist
  • Creator: Carlo Crivelli
  • Date Created: 1476
  • Physical Dimensions: 138.5 x 40 cm
  • Medium: Tempera on poplar
  • School: Italian
  • More Info: Explore the National Gallery’s paintings online
  • Artist Dates: about 1430/5 - about 1494
  • Artist Biography: Crivelli was born in Venice and probably trained with Squarcione in Padua. He spent most of his life in the Marches (eastern central Italy), after periods in Venice and Zara. Crivelli was active as a painter by 1457 when he was condemned in Venice for adultery. He was very successful as a maker of altarpieces in the Marches. These are especially well represented in the Collection. Crivelli was influenced by the Vivarini at an early stage. From Squarcione, or one of his pupils such as Giorgio Schiavone, Crivelli could learn simulated marble architecture; festoons of fruit; parchment cartellini and music-making putti. Venetian painting up to this point had been dominated by the Late Gothic style, such as that of Jacopo Bellini and his son Gentile. Crivelli was a fine technical painter and his pictures are in a good state of preservation. He had a strong linear decorative sense and was a brilliant colourist. His work was particularly appreciated in the 19th century, as witnessed by the price paid for the Gallery's 'Madonna della Rondine'.
  • Acquisition Credit: Bought, 1868
The National Gallery, London

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