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Crivelli’s use of gold in this painting is extremely refined. He applied sheets of gold leaf to the sky behind Saint George and to the raised pastiglia details of his armor. Crivelli also carefully painted powdered gold onto the hilt of the sword and added silver to its blade, demonstrating his mastery of multiple techniques. He then painted on top of the gold and silver to add shadows and highlights.

Crivelli’s use of gold in this painting is extremely refined. He applied sheets of gold leaf to the sky behind Saint George and to the raised pastiglia details of his armor. Crivelli also carefully painted powdered gold onto the hilt of the sword and added silver to its blade, demonstrating his mastery of multiple techniques. He then painted on top of the gold and silver to add shadows and highlights.

Carlo Crivelli (Venice,1435-1495) ~ St. Lucy, Martyr ~ ca.1476 ~ This painting is part of the group: Four Panels from an Altarpiece, Ascoli Piceno ~ National Gallery, London ~ Carlo Crivelli was an Italian Renaissance painter of conservative Late Gothic decorative sensibility, who spent his early years in the Veneto, where he absorbed influences from the Vivarini, Squarcione and Mantegna.

Carlo Crivelli (Venice,1435-1495) ~ St. Lucy, Martyr ~ ca.1476 ~ This painting is part of the group: Four Panels from an Altarpiece, Ascoli Piceno ~ National Gallery, London ~ Carlo Crivelli was an Italian Renaissance painter of conservative Late Gothic decorative sensibility, who spent his early years in the Veneto, where he absorbed influences from the Vivarini, Squarcione and Mantegna.

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