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Oil Painting Artist::. GHIRLANDAIO, Domenico
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GHIRLANDAIO, Domenico
Italian Early Renaissance Painter, 1449-1494
Florentine painter, whose family name was Bigordi. He may have studied painting and mosaics under Alesso Baldovinetti. Ghirlandaio was an excellent technician. Keenly observant of the contemporary scene, he depicted many prominent Florentine personalities within his religious narrative paintings. Among his earliest frescoes are the Madonna with the Vespucci Family and the Last Supper (Church of the Ognissanti, Florence). He painted scenes from the life of Santa Fina (collegiate church in San Gimigniano) and frescoes in the Palazzo Vecchio, Florence. In 1481, Pope Sixtus IV called him to Rome, along with Botticelli, to decorate the Sistine Chapel. He painted the Calling of the First Apostles, a scene close in spirit to Masaccio. He returned to Florence to work on the frescoes in the Sassetti Chapel in Santa Trinita. He introduced Sassetti, Corsi, Poliziano, the Medici, and many other contemporaries as participants in the life of St. Francis. Ghirlandaio's most famous achievement is his fresco cycle of the life of Mary and St. John the Baptist for the choir of Santa Maria Novella. Michelangelo served an apprenticeship with him at this time and probably worked on these frescoes. Other examples of his art are the Adoration of the Magi (Uffizi); another Adoration (Hospital of the Innocents); a mosaic of the Annunciation for the Cathedral; a portrait of Francesco Sassetti and his son (Metropolitan Mus.);
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Herod-s Banquet
1486-90 Fresco Cappella Tornabuoni
Painting ID:: 52597
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Herod-s_Banquet
1486-90 Fresco Cappella Tornabuoni
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An old man with a boy's portrait
mk255 for in 1490. Plastic paint dye, Yang wood 0.62 meters high, 0.46 meters wide. Paris, the Louvre
Painting ID:: 57234
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An_old_man_with_a_boy's_portrait
mk255 for in 1490. Plastic paint dye, Yang wood 0.62 meters high, 0.46 meters wide. Paris, the Louvre
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Madonna and Child Enthroned with Saints
1483 Tempera on wood Galleria degli Uffizi, Florence This detail of a flower vase on a colourful carpet could be taken from a Flemish panel painting if it were painted using the oil technique developed there rather than tempera, which Ghirlandaio used. In this detail, the artist creates a positive frenzy of colours and forms to enliven the picture. Artist: GHIRLANDAIO, Domenico Painting Title: Madonna and Child Enthroned with Saints (detail) , 1451-1500 Painting Style: Italian , , still-life
Painting ID:: 62995
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Madonna_and_Child_Enthroned_with_Saints
1483 Tempera on wood Galleria degli Uffizi, Florence This detail of a flower vase on a colourful carpet could be taken from a Flemish panel painting if it were painted using the oil technique developed there rather than tempera, which Ghirlandaio used. In this detail, the artist creates a positive frenzy of colours and forms to enliven the picture. Artist: GHIRLANDAIO, Domenico Painting Title: Madonna and Child Enthroned with Saints (detail) , 1451-1500 Painting Style: Italian , , still-life
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Coronation of the Virgin
1486 Tempera on wood Pinacoteca Comunale, Citta di Castello The Coronation in Citt?di Castello is untypical of Ghirlandaio because of its limited palette: its impact is derived primarily from the contrast of various shades of blue and red with a few yellow highlights. In contrast with the old-fashioned picture in Narni, only the female saints in the centre are kneeling; three holy men are standing on each side of them. This emphasizes the circular glory composed of airy shades of blue, giving the work a dynamic and animated character. The saints on this picture are mainly ones from the Franciscan order. On the far left stands the founder of the order, St Francis of Assisi. This altarpiece is not an autographed work, it was probably made by the workshop. Artist: GHIRLANDAIO, Domenico Painting Title: Coronation of the Virgin , 1451-1500 Painting Style: Italian , , religious
Painting ID:: 62997
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Coronation_of_the_Virgin
1486 Tempera on wood Pinacoteca Comunale, Citta di Castello The Coronation in Citt?di Castello is untypical of Ghirlandaio because of its limited palette: its impact is derived primarily from the contrast of various shades of blue and red with a few yellow highlights. In contrast with the old-fashioned picture in Narni, only the female saints in the centre are kneeling; three holy men are standing on each side of them. This emphasizes the circular glory composed of airy shades of blue, giving the work a dynamic and animated character. The saints on this picture are mainly ones from the Franciscan order. On the far left stands the founder of the order, St Francis of Assisi. This altarpiece is not an autographed work, it was probably made by the workshop. Artist: GHIRLANDAIO, Domenico Painting Title: Coronation of the Virgin , 1451-1500 Painting Style: Italian , , religious
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Announcement of Death to St Fina
1473-75 Fresco Colleggiata, San Gimignano Next to the shining bowl is an almost empty decanter, covered by an inverted glass to protect the valuable wine. As the artist repeated both vessels in his later frescoes of the Last Supper, it is possible that they a reference to the sacrament of Holy Communion. The character of the objects, so like a still life, is an approximation to Flemish paintings, though Ghirlandaio has not yet achieved a Flemish materiality in his work. On the far right, two pomegranates are lying on a box; they may be references to the Fall of Man in the Garden of Eden. Saint Fina did not attempt to gain the biblical forbidden fruits and will therefore be made a saint. Is it possible that the large split on one of the fruits is an allusion to the bodily decay of the saint, which the artist did not dare depict in all its gruesomeness? On a framed panel on the rear wall are the Latin words that St Gregory spoke to Fina: "Be prepared my daughter, for on my feast day you will be taken up into our community and live there forever with your bridegroom." A window in the rear wall allows air and light to enter the bare room. A picture within a picture, the window appears very much like a landscape painting. The few domestic objects on the bench at the back give the room a home-like quality. Artist: GHIRLANDAIO, Domenico Painting Title: Announcement of Death to St Fina (detail) , 1451-1500 Painting Style: Italian , , religious
Painting ID:: 63000
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Announcement_of_Death_to_St_Fina
1473-75 Fresco Colleggiata, San Gimignano Next to the shining bowl is an almost empty decanter, covered by an inverted glass to protect the valuable wine. As the artist repeated both vessels in his later frescoes of the Last Supper, it is possible that they a reference to the sacrament of Holy Communion. The character of the objects, so like a still life, is an approximation to Flemish paintings, though Ghirlandaio has not yet achieved a Flemish materiality in his work. On the far right, two pomegranates are lying on a box; they may be references to the Fall of Man in the Garden of Eden. Saint Fina did not attempt to gain the biblical forbidden fruits and will therefore be made a saint. Is it possible that the large split on one of the fruits is an allusion to the bodily decay of the saint, which the artist did not dare depict in all its gruesomeness? On a framed panel on the rear wall are the Latin words that St Gregory spoke to Fina: "Be prepared my daughter, for on my feast day you will be taken up into our community and live there forever with your bridegroom." A window in the rear wall allows air and light to enter the bare room. A picture within a picture, the window appears very much like a landscape painting. The few domestic objects on the bench at the back give the room a home-like quality. Artist: GHIRLANDAIO, Domenico Painting Title: Announcement of Death to St Fina (detail) , 1451-1500 Painting Style: Italian , , religious
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GHIRLANDAIO,_Domenico
Italian Early Renaissance Painter, 1449-1494
Florentine painter, whose family name was Bigordi. He may have studied painting and mosaics under Alesso Baldovinetti. Ghirlandaio was an excellent technician. Keenly observant of the contemporary scene, he depicted many prominent Florentine personalities within his religious narrative paintings. Among his earliest frescoes are the Madonna with the Vespucci Family and the Last Supper (Church of the Ognissanti, Florence). He painted scenes from the life of Santa Fina (collegiate church in San Gimigniano) and frescoes in the Palazzo Vecchio, Florence. In 1481, Pope Sixtus IV called him to Rome, along with Botticelli, to decorate the Sistine Chapel. He painted the Calling of the First Apostles, a scene close in spirit to Masaccio. He returned to Florence to work on the frescoes in the Sassetti Chapel in Santa Trinita. He introduced Sassetti, Corsi, Poliziano, the Medici, and many other contemporaries as participants in the life of St. Francis. Ghirlandaio's most famous achievement is his fresco cycle of the life of Mary and St. John the Baptist for the choir of Santa Maria Novella. Michelangelo served an apprenticeship with him at this time and probably worked on these frescoes. Other examples of his art are the Adoration of the Magi (Uffizi); another Adoration (Hospital of the Innocents); a mosaic of the Annunciation for the Cathedral; a portrait of Francesco Sassetti and his son (Metropolitan Mus.);
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