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Bartolommeo Crivellari Collection

Bartolomeo Crivellari, a renowned artist from the 18th century, captivated audiences with his exquisite works of art

Background imageBartolommeo Crivellari Collection: A group of elegantly dressed people playing the harp and a guitar, 1740-68

A group of elegantly dressed people playing the harp and a guitar, 1740-68

Background imageBartolommeo Crivellari Collection: Plate 6: Ulysses driving a burning stake into Polyphemus eye, 1756

Plate 6: Ulysses driving a burning stake into Polyphemus eye, 1756

Background imageBartolommeo Crivellari Collection: A group of elegantly dressed people playing cards, 1740-68

A group of elegantly dressed people playing cards, 1740-68

Background imageBartolommeo Crivellari Collection: Plate 1: cross-section of the Hall of the Institute of Bologna

Plate 1: cross-section of the Hall of the Institute of Bologna, which served as the residence for the Clementine Academy, with fresco paintings by Pellegrino Tibaldi in the vault, 1756

Background imageBartolommeo Crivellari Collection: Plate 7: the blinded Polyphemus, guarding the entrance of his cavern

Plate 7: the blinded Polyphemus, guarding the entrance of his cavern, with Ulysses and his companions escaping below by covering themselves with ram skins, 1756

Background imageBartolommeo Crivellari Collection: Plate 27: Ulysses received by Alcinous king of Phoeacia and his Queen Areta after his ship... 1756

Plate 27: Ulysses received by Alcinous king of Phoeacia and his Queen Areta after his ship... 1756
Plate 27: Ulysses received by Alcinous king of Phoeacia and his Queen Areta after his shipwreck, 1756

Background imageBartolommeo Crivellari Collection: Plate 2: cross-section of the Hall of the Institute of Bologna, 1756

Plate 2: cross-section of the Hall of the Institute of Bologna, 1756

Background imageBartolommeo Crivellari Collection: Plate 26: Ulysses escaping on a raft with the aid of the sea deity Leucothea, 1756

Plate 26: Ulysses escaping on a raft with the aid of the sea deity Leucothea, 1756

Background imageBartolommeo Crivellari Collection: Plate 24: Ulysses's companions stealing the oxen sacred to Apollo, 1756

Plate 24: Ulysses's companions stealing the oxen sacred to Apollo, 1756

Background imageBartolommeo Crivellari Collection: Plate 22: two nude figures wearing veils, 1756. Creators: Bartolomeo Crivellari

Plate 22: two nude figures wearing veils, 1756. Creators: Bartolomeo Crivellari
Plate 22: two nude figures wearing veils, 1756

Background imageBartolommeo Crivellari Collection: Plate 19: figure seen from behind with left hand raised, 1756

Plate 19: figure seen from behind with left hand raised, 1756

Background imageBartolommeo Crivellari Collection: Plate 18: two nude figures wearing veils, seen from behind, 1756

Plate 18: two nude figures wearing veils, seen from behind, 1756

Background imageBartolommeo Crivellari Collection: Plate 17: two nude figures wearing veils, 1756. Creators: Bartolomeo Crivellari

Plate 17: two nude figures wearing veils, 1756. Creators: Bartolomeo Crivellari
Plate 17: two nude figures wearing veils, 1756

Background imageBartolommeo Crivellari Collection: Plate 20: bearded figure, half clothed, 1756. Creators: Bartolomeo Crivellari

Plate 20: bearded figure, half clothed, 1756. Creators: Bartolomeo Crivellari
Plate 20: bearded figure, half clothed, 1756

Background imageBartolommeo Crivellari Collection: Plate 15: mythological figure wearing a helmet and holding a shield, 1756

Plate 15: mythological figure wearing a helmet and holding a shield, 1756

Background imageBartolommeo Crivellari Collection: Plate 5: view of the ceiling with its ornaments and frescoed paintings, 1756

Plate 5: view of the ceiling with its ornaments and frescoed paintings, 1756

Background imageBartolommeo Crivellari Collection: Plate 16: mythological figure holding a mirror, 1756. Creators: Bartolomeo Crivellari

Plate 16: mythological figure holding a mirror, 1756. Creators: Bartolomeo Crivellari
Plate 16: mythological figure holding a mirror, 1756

Background imageBartolommeo Crivellari Collection: Plate 8: Ulysses receiving the winds in a leather bag from Aeolus, 1756

Plate 8: Ulysses receiving the winds in a leather bag from Aeolus, 1756

Background imageBartolommeo Crivellari Collection: Plate 34: Auriga, the charioteer, falls from the chariot at center, with three horses at l... 1756

Plate 34: Auriga, the charioteer, falls from the chariot at center, with three horses at l... 1756
Plate 34: Auriga, the charioteer, falls from the chariot at center, with three horses at left, 1756

Background imageBartolommeo Crivellari Collection: Three bearded men, one wearing fur, 1756. Creators: Bartolomeo Crivellari, Gabriel Soderling

Three bearded men, one wearing fur, 1756. Creators: Bartolomeo Crivellari, Gabriel Soderling
Three bearded men, one wearing fur, 1756

Background imageBartolommeo Crivellari Collection: A standing man in a niche reaching forward with one arm, 1756

A standing man in a niche reaching forward with one arm, 1756. Creators: Bartolomeo Crivellari, Gabriel Soderling
A standing man in a niche reaching forward with one arm, 1756

Background imageBartolommeo Crivellari Collection: Plate 40: the division of the elect from the reprobate, 1756

Plate 40: the division of the elect from the reprobate, 1756. Creators: Bartolomeo Crivellari, Gabriel Soderling
Plate 40: the division of the elect from the reprobate, 1756

Background imageBartolommeo Crivellari Collection: Plate 41: Saint John the Baptist preaching to a large crowd and baptizing children, 1756

Plate 41: Saint John the Baptist preaching to a large crowd and baptizing children, 1756


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Bartolomeo Crivellari, a renowned artist from the 18th century, captivated audiences with his exquisite works of art. In one of his masterpieces, we are transported to a scene where elegantly dressed individuals gather together, their fingers gracefully plucking at the strings of a harp and guitar. The harmonious melodies fill the air as they create an enchanting symphony. Moving on to another captivating piece by Crivellari, Plate 6 depicts Ulysses in a daring act. With determination etched on his face, he drives a burning stake into Polyphemus' eye. This intense moment is frozen in time, showcasing Crivellari's ability to capture raw emotion and dramatic tension within his artwork. In Plate 1, we delve into the Hall of the Institute of Bologna through a cross-section representation meticulously crafted by Crivellari. Every intricate detail is brought to life as we explore this grand space filled with knowledge and enlightenment. Plate 7 transports us back to Ulysses' encounter with Polyphemus once again. This time, Polyphemus stands guard at the entrance of his cavern while blinded by Ulysses' previous attack. The vulnerability juxtaposed against strength creates an intriguing visual narrative that leaves viewers captivated. Ulysses continues to be our guide throughout Crivellari's works as seen in Plate 27 where he is warmly received by Alcinous king of Phaeacia and Queen Areta after surviving treacherous waters. The relief on their faces showcases gratitude for Ulysses' resilience and bravery. Crivellari collaborates with Gabriel Soderling in Plates 2 and 26; both pieces showcase Ulysses navigating perilous situations aided by divine intervention or clever tactics. These artworks highlight not only Crivellari's talent but also his ability to collaborate seamlessly with other artists.