Crivellari Collection

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Step into the world of Crivellari, where elegance and artistry intertwine. In Plate 6, we witness a group of exquisitely dressed individuals skillfully playing the harp and guitar, transporting us to a bygone era between 1740-68. The scene is alive with enchanting melodies that captivate our senses. Moving on to Plate 1, we are treated to a cross-section of the Hall of the Institute of Bologna. Its grandeur and architectural brilliance leave us in awe as we imagine the intellectual conversations that once echoed within its walls. Plate 7 introduces us to Polyphemus, his eye burning from Ulysses' stake driven deep into it. This dramatic depiction from 1756 showcases Crivellari's ability to capture intense emotions through his artwork. In Plate 27, Ulysses finds refuge in Phoeacia under the gracious hospitality of King Alcinous and Queen Areta after his treacherous journey at sea. Bartolomeo Crivellari and Gabriel Soderling beautifully bring this moment to life in their collaborative creation. The narrative continues with Plate 26, where Ulysses escapes on a raft aided by Leucothea, the sea deity. The artists' attention to detail immerses us in this perilous adventure filled with mythical beings and divine intervention. Plate 24 presents Ulysses' companions stealing sacred oxen belonging to Apollo—a daring act that adds another layer of tension and suspense within this epic tale created by Bartolomeo Crivellari and Gabriel Soderling. Delving deeper into Crivellari's artistic vision, Plates 22, 18, and19 offer glimpses into ethereal realms—nude figures wearing veils or seen from behind—inviting contemplation about beauty beyond physicality.