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Saint Lucy

Carlo Crivelli1476

The National Gallery, London

The National Gallery, London
London, United Kingdom

This elegant woman is Saint Lucy. She once stood on the Virgin’s left in a small altarpiece which Crivelli painted for a side chapel in the church of San Domenico, in Ascoli Piceno in the Italian Marche. Lucy holds her cactus-like martyr’s palm in one hand, and a circular wooden plate in the other. On the trencher are pair of hooded, oval eyes which cast shadows on the golden wood: Lucy’s eyes were removed as part of her martyrdom (she is now the patron saint of opticians).

In a detail typical of Crivelli, her elongated, bony toes in their pointed red sandals poke out over the edge of the marble parapet on which she stands, linking her heavenly space with ours.

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  • Title: Saint Lucy
  • Creator: Carlo Crivelli
  • Date Created: 1476
  • Physical Dimensions: 91 x 26.5 cm
  • Medium: Tempera on lime
  • 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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