The art of Crivelli in the Marche. Italia.it

Vittore Crivelli in the Fermo Area

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Vittore Crivelli (c. 1440 – 1501 or 1502) was an Italian painter active during the Early Renaissance. Born in Venice, he came from a family of artists—his father Giacomo and his brother Carlo Crivelli were also painters. He initially worked alongside his brother but later pursued an independent career. The two were among the most refined interpreters of 15th-century painting, deeply influencing the art of the Marche region. They were active along the waterways that, for a long time, connected the Gulf of Venice, Dalmatia, and the Marche through a vibrant artistic exchange.

A few years younger than his brother Carlo, Vittore likely followed him to Zadar after Carlo was forced to leave Venice due to legal troubles. Vittore, however, remained in the Dalmatian city longer—at least until 1476. In Zadar, which maintained strong commercial and cultural ties with the Adriatic coast of the Marche, he produced a remarkable number of works. Today, these pieces are preserved in museums around the world (New York, Zagreb, Vienna, Moscow, and throughout Italy). They reflect the influence of the Paduan-Mantegna style, which, like his brother, he absorbed by studying the works of Squarcione’s pupils—filtered into the Venetian Lagoon through the flourishing workshop of the Vivarini family.

In 1481, Vittore relocated to the Marche, settling in the town of Fermo, where he created numerous works. He established a successful workshop that produced altarpieces and polyptychs for a wide area spanning the provinces of Fermo and Macerata. His commissions came from both major religious orders and important patrons, as well as from parish churches and small religious communities.

In the Marche region, Crivelli’s painting took on a more sumptuous, decorative character, often infused with a nostalgic echo of the styles of Vivarini and Giovanni d'Alemagna. His works are marked by lavish use of gold and painstaking attention to detail—hallmarks of the International Gothic style. His figures closely resemble those of his older brother Carlo, though they are generally less dynamic and expressive. One recurring theme in Vittore’s work—absent from Carlo’s—is the depiction of the Virgin Mary adoring the Christ Child, a popular 15th-century motif inspired by the visions of Saint Bridget.

Among the many works preserved in the Fermo area, two particularly captivating and expressive examples are the polyptychs of Sant’Elpidio a Mare and Torre di Palme.

Polyptychs in Sant’Elpidio a Mare

Pinacoteca civica of Sant’Elpidio a Mare (The Civic Art Gallery) is named after Vittore Crivelli, whose work is prominently represented there with three of his most important pieces: the Polyptych of the Coronation and Saints—with a predella depicting scenes from the life of Saint John the Baptist (which, until the first half of the 20th century, was attributed to his more famous brother Carlo)—and the Triptych of the Visitation with the Pietà, both originally from chiesa dei Minori Osservanti.

The Polyptych of the Coronation of the Virgin is one of Vittore Crivelli’s most significant works. Created between 1480 and 1489, the polyptych consists of 18 tempera-on-panel paintings. At its centre is the Coronation of the Virgin, surrounded by an assembly of saints and angels. The predella, at the bottom of the work, features scenes from the life of Saint John the Baptist, including the Presentation of Jesus in the Temple.

Sant'Elpidio a Mare

63811 Sant'Elpidio a Mare FM, Italia

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Polyptych in Torre di Palme

Chiesa di Sant’Agostino in Torre di Palme houses a stunning polyptych by Vittore Crivelli, positioned behind the altar as the crowning feature of the presbytery. It's a vibrant display of enamel-like colors, amplified by a dazzling gold background that leaves viewers truly astonished. Measuring 2.37 metres in height and 2.50 metres in width, the painting was commissioned from Crivelli in the late 15th century by the Prior of the Augustinian order for the Church of Sant’Agostino.

Executed in tempera on elm panels, the work reflects a late-Gothic aesthetic and is enriched with Byzantine references—evidence of the influence both Crivelli brothers absorbed during their time in Zadar, Dalmatia.

The central theme of the polyptych is original sin and the need for redemption. Mary, depicted as the Immaculate Conception and symbol of salvation, brings forth the Divine Child who will redeem humanity through his death and resurrection.

Crivelli’s polyptych consists of 12 gold-background panels, framed together and accompanied by a predella featuring 13 niches.

Torre di Palme

63900 Torre di Palme FM, Italia

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