Crivellari Bartolommeo 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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"Crivellari Bartolomeo: A Journey through Myth and Elegance" Step into the world of Crivellari Bartolomeo, a renowned artist whose works transport us to a time of elegance and mythical tales. In Plate 6, we witness a group of exquisitely dressed individuals immersed in the enchanting melodies of harp and guitar, their music echoing through the ages from 1740-68. Moving forward, Plate 1 reveals a cross-section of the Hall of the Institute of Bologna, showcasing Crivellari's attention to detail as he captures every architectural nuance. The grandeur continues with Plate 7 where Polyphemus, his eye burning from Ulysses' stake, stands guard at the entrance to his cavern. The narrative unfolds further in Plate 27 as Ulysses finds refuge in Phoeacia under King Alcinous' benevolent gaze. Here we see Crivellari's collaboration with Gabriel Soderling in capturing this pivotal moment after Ulysses' shipwrecked journey. Plate 2 takes us back inside the Hall of the Institute of Bologna with another mesmerizing cross-section that showcases Crivellari's mastery over perspective. And then onto Plate 26 where Ulysses escapes on a raft aided by Leucothea, an ethereal sea deity brought to life by Crivellari and Soderling's artistic prowess. Intrigue ensues in Plate 24 when Ulysses' companions dare to steal Apollo's sacred oxen—an act fraught with consequences yet beautifully depicted by Creators: Bartolomeo Crivellari and Gabriel Soderling. Meanwhile, Plates 22 and 18 offer glimpses into sensuality as two veiled nude figures captivate our imagination from different angles. Finally, Plates19 presents an enigmatic figure seen from behind, their left hand raised in a gesture that invites interpretation.