The late Bernard Berenson had nothing but affection for the work of the isth century Italian Artist Carlo Crivelli. But when B. B. came to write his authoritative studies of Italian Renaissance painters, he felt obliged to leave Crivelli out. Though the artist was the contemporary of Giovanni Bellini, Mantegna and Piero della Francesca, he remained, in Berenson's opinion, essentially an exponent of the Late Gothic spirit—superb in his way, but "the product of stationary, if not reactionary, conditions." Last week 80 works by Crivelli and his followers were shown in the Doges'...
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