In the 1920s, a young art critic from Milan saw Carlo Crivelli’s paintings, and those of his followers, as examples of paintings of note from the 15th century which, at the same time, had a consonance with certain aspects of Italian art of his time.

The early 15th century, during the Napoleonic marches, saw a blossoming in gold production of extraordinary quality and variety.  This was due to contacts with different artistic and cultural areas, from Veneto to Tuscany to Southern Italy.

Study and in-depth analysis of the relationship between painting and textile art, undertaken by MATAM Cultural Association and donated to Pinacoteca di Brera on the occasion of its bicentenary celebration.

In many of his paintings, Crivelli used a cucumber as a signature, placing it next to common plant decorations (flowers, fruit). This was something almost unique in the 15th century. Art historians who have tried to explain the presence of the Crivelli cucumber have mainly looked for its symbolic meaning.

Around 1489, Crivelli produced 'Visione del beato Gabriele Ferretti' (London, National Gallery) for the convent of San Francesco ad Alto in Ancona. It was created for the cell which served as living quarters for Fra Bernardino Ferretti, guardian of the cenoby and commissioner of paintings.