She does not look directly at us, but sidelong at something or someone else.

This unidentified bearded man is depicted bust length, gazing obliquely into the distance. The Dominicans were one of the two great mendicant or preaching orders founded in the Middle Ages to provide educated preachers in towns and cities (the others being the Franciscans). Help keep us free by making a donation today. Saint Catherine of Alexandria wears the crown of a princess. This elegant woman is Saint Lucy. This elegant woman is Mary Magdalene, holding the pot of oil with which she anointed Christ’s feet. 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. This graceful golden-haired princess comes from a predella, a row of scenes along the base of an altarpiece, or from the frame of an altarpiece. License and download a high-resolution image for reproductions up to A3 size from the National Gallery Picture Library.

Gabriele was Superior of the small convent of San Francesco in Alto outside Ancona in the Italian Marche. Saint John the Baptist at the far left represented the idea that salvation could only be achieved by admission to the Church through baptism. Copyright © 2020 National Gallery of Canada, Prints, Drawings and Photographs Study Room, European and American Prints and Drawings. The image file is 800 pixels on the longest side. The sitter may have asked for the portrait to be changed as she wished to be identified with her name saint or patron saint by adopting her attributes, or the artist might simply have decided to recycle a rejected or neglected work.There are two other examples in the National Gallery of portraits in which sitters took on the attributes of their name saint, both by Giovanni Bellini: A Dominican with the Attributes of Saint Peter Martyr and Portrait of Fra Teodoro of Urbino as Saint Dominic (on loan from the Victoria and Albert Museum, London). This painting was once a portrait, but it was altered to represent a saint. This golden-haired princess is Saint Catherine of Alexandria, identifiable by her attributes of a spiked wheel and martyr’s palm. This stern and commanding figure is Saint Peter, the first pope and one of the founders of the Catholic Church. In 1876, it was acquired by Martin Colnaghi at the sale of the Dudley collection and dispersed. Explore one of the most extraordinary collections of art from across Canada and around the world. Their history is complex and intertwined. This half-length figure of a saint comes from the upper tier of a 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.

The Carthusians were an enclosed Catholic religious order of monks and nuns founded by Bruno of Cologne in 1084. This tall, narrow panel once hung over the tomb of a Franciscan holy man, the Blessed Gabriele Ferretti (d. 1456). The shift itself is so fine as to be almost translucent, and is edged with a ribbon at the neck and wrists.

If you decided to cancel your made-to-order print for any reason, it is unlikely that we could sell it to another customer at full selling price. Crivelli painted two altarpieces for the small church of San Domenico, in the town of Ascoli Piceno in the Italian Marche. A large, double-tiered polyptych (a multi-panelled altarpiece) sat on the high altar, while a smaller altarpiece was in a side chape... Crivelli painted this unusual image of the Virgin standing alone with no Christ Child for the church of San Francesco, Pergola, a little town in the north of the Italian Marche. This was a relatively novel way of showing objects in the late fifteenth century – compare it to the flat wheel held by Saint Catherine in Giovanni da Milano’s Christ and the Virgin Enthroned with Six Saints. The Virgin in the central panel was the special protector of the Order. Saint Catherine was the daughter of Constus, Roman governor of Alexandria. Search, download and license images from the world-renowned fine art collection of the National Gallery, London. This striking half-naked figure is Saint John the Baptist.
The National Gallery Picture Library for image professionals. Her ear was fully exposed and only the back of her head was covered. Leonello d’Este (1407–1450), Marquis of Ferrara, appears to be portrayed in profile at bottom left, suggesting that he... An ageing bearded man looks out of the painting, holding a statuette in his left hand. Catherine stands on a marble shelf, rather like a statue.

Saint Catherine of Alexandria, Raphael. In the nineteenth century parts of both were sold to a Russian aristocrat, Prince Anatole Demidoff.

They are now shown separately (Saint Jerome, Saint Michael, Saint Lucy, Saint Peter Martyr). These changes were probably carried out at a relatively early date. In 1835 the whole work was taken to Rome and sold in pieces to the Portuguese ambassador Hudson for 90 scudi via Luigi Salvadori Paleotti. Her sleeves are decorated with golden pelicans and phoenixes, symbols of Christ’s sacrifice on the Cross and the Resurrection. They failed and many converted to Christianity on the strength of Catherine’s arguments. Eventually she was beheaded. Saint John the Evangelist carries pen and ink at his belt. In 1803 the old parish church was demolished and the altarpiece moved into the Suffragio church, which was hosting the church's services until a new San Giorgio was built.

The Virgin Mary sits on a stone bench and holds the infant Christ on a cushion on her lap. She was tortured by being bound to four wheels with spikes in them. The whole complex is known after him as the Demidoff Altarpiece. The coronet and the neckline of her dress are decorated with small balls, one of which is missing. This bearded saint is one of four in the upper tier of a polyptych (a multi-panelled altarpiece) which Crivelli painted in 1476 for the high altar of the Dominican Church in Ascoli Piceno in the Italian Marche. Download a low-resolution copy of this image for personal use.

This large altarpiece was painted by Carlo Crivelli in 1491 for a family chapel in the Franciscan church in Matelica, a small town in the Italian Marches. Download a low-resolution copy of this image for personal use. This painting joined our collection in 1839. She was finally beheaded, hence the sword she carries. The story of Catherine of Alexandria is found in the 'Golden Legend'.

A new payment of 300 scudi settled the dispute. She comes from the great polyptych (multi-panelled altarpiece) which Crivelli painted for the church of the Dominican Order in Ascoli Piceno in the Italian Marche.
After varnishing, the gold decoration on the dress and hair was painted over and a veil was added. Find out what you can see and do at the Gallery in Ottawa, what’s new online, and where the collection is on view worldwide. After varnishing, the gold decoration on the dress and hair was painted over and a veil was added. Our viewpoint is very low, so we are also looking up at the Virgin, like Christ. Their history is complex and intertwined. 380 Sussex Drive Ottawa, ON, Canada K1N 9N4DirectionsVisitor Guidelines. The image file is 800 pixels on the longest side.

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To understand how we use cookies please click here. In 1961 the four saints in the upper tier – originally painted for the small altarpiece in San Domenico – were removed from the main altarpiece.

Artemisia Gentileschi, the most celebrated female artist of the seventeenth century, appears in the guise of Saint Catherine of Alexandria, a Christian saint martyred in the early fourth century. You must agree to the Creative Commons terms and conditions to download this image. Technical evidence suggests this painting was once a portrait, but it was altered to represent a saint. This graceful, golden-haired princess is Saint Catherine of Alexandria, identifiable by her traditional attributes of a spiked wheel and martyr’s palm. Your ticket reservations will time out in 5 minutes. Identifying the panels of the work and reconstructing the overall composition has been a long process, starting with Philip Hendy in 1931, who associated Saint Peter and Saint Paul (National Gallery, London) with Saint George and the Dragon (Isabella Stewart Gardner Museum). She comes from the great polyptych (multi-panelled altarpiece) which Crivelli painted for the church of the Dominican Order in Ascoli Piceno in the Italian Marche. As a charity, we depend upon the generosity of individuals to ensure the collection continues to engage and inspire. This fabric is a deliberately old-fashioned design; it is very similar to that worn by one of the kings in The Wilton Diptych, made around 80 years earlier. This painting, showing the Virgin and Child enthroned between Saints Francis and Sebastian, was the central panel of an altarpiece made for a family chapel in the Franciscan church at Fabriano, in the Italian Marches. One of their main concerns was to combat heresy, both through scholarly debate and through the Inquisition, which they organised. This painting is more likely to be an imaginary scene than a view of a theatre that actually existed. As a charity, we depend upon the generosity of individuals to ensure the collection continues to engage and inspire. When she asked the Roman Emperor to stop persecuting Christians, he sent his best philosophers to debate with her and to persuade her to revert to paganism. He emphasises certain objects, such as crowns and haloes, by building them up with pastiglia so they stand proud of the painted surface, and unites the panels by tooling a damask pattern, like that of a rich fabric, into the burnished gold backgrounds. Create your own bespoke National Gallery art print of Raphael’s Saint Catherine of Alexandria from our collection. The Gallery is open. Choose your own size, print material and frames and have your masterpiece delivered straight to your door. The picture may be a later copy of one of the lost frescoes by Piero della Francesca in the ducal palace in Ferrara. The final piece to be found was Saint Anthony Abbot and Saint Lucy, identified by J. Bialostocki in 1956.

Date: 1514. Each side panel consisted of a smaller lunette and a main panel - that on the left had Saint Peter and Saint Paul (now National Gallery, London) below a lunette of Saint Catherine of Alexandria and Saint Jerome (now Philbrook Museum of Art), whilst that on the right had Saint George and the Dragon (now Isabella Stewart Gardner Museum) below a lunette of Saint Anthony Abbot and St Lucy (now National Museum, Kraków). She wears an overdress of red and gold figured silk, such as was produced in medieval Italy. your use of our website may be impaired. License and download a high-resolution image for reproductions up to A3 size from the National Gallery Picture Library. cookies being used (except for cookies which are strictly necessary).

The hair of the figure was originally completely different. She was then tied to a spiked wheel but this was broken by divine intervention. The Virgin is seated on the ground in a rural landscape outside a sixteenth-century town, as the ‘Madonna of Humility’. An unidentified battle rages before a mountainous landscape. The Virgin, crowned and richly dressed as Queen of Heaven, sits on a marble throne.

A large, two-tiered polyptych was displayed on the high altar, while a smaller altarpiece was in a side chapel. Crivelli painted two altarpieces for the small church of San Domenico, in Ascoli Piceno in the Italian Marche. Saint Peter on her right stands for the papacy, which the Dominicans faithfully supported. He mounted them in a grand frame to make a three-tiered altarpiece for the chapel of his villa in Florence. Although she lived in the third century, Catherine is here dressed in fifteenth-century fashion.

Exactly how the remaining nine panels were originally arranged is unclear. The saint’s twisting pose reflects Raphael’s study of the sinuous grace of Perugino’s paintings, the dynamic compositions of Leonardo and the monumentality of Michelangelo’s figures.


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