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Saint Peter Martyr

Carlo Crivelli1476

The National Gallery, London

The National Gallery, London
London, United Kingdom

This priest – whose hair has been shaved, or tonsured – once stood on the right side of a small altarpiece which Crivelli painted for the church of San Domenico, in Ascoli Piceno, in the Italian Marche. He is Saint Peter Martyr, the second saint of the Dominican Order, and their first martyr.

The falcastro, a long-handled curved knife, with which he was murdered, splits his skull, and a second dagger is buried in his shoulder. His black and white robes stand out powerfully against the burnished gold ground. Crivelli’s skill as a painter of drapery is such that although Peter’s robes are black we can see the deep folds where his hood and cloak fall around his shoulders, and the creases in the tops of his shoes.

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  • Title: Saint Peter Martyr
  • Creator: Carlo Crivelli
  • Date Created: 1476
  • Physical Dimensions: 90.5 x 26.5 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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