All Garofalo 's Paintings
The Painting Names Are Sorted From A to Z

Choice ID Image  Paintings (From A to Z)       Details 
43020 A Pagan Sacrifice  A Pagan Sacrifice   mk170 dated 1526 Oil on canvas 128.3x185.4cm
6791 Adoration of the Kings ff  Adoration of the Kings ff   Oil on wood Rijksmuseum, Amsterdam
6797 Adoration of the Magi (detail) sdg  Adoration of the Magi (detail) sdg   1480-85 Panel National Gallery, Prague
43021 An Allegory of Love  An Allegory of Love   mk170 1530-1535 Oil on canvas 127x177.8cm
92561 Apotheosis of Hercules  Apotheosis of Hercules   1539 Oil on canvas TTD
6790 Ascension of Christ sdg  Ascension of Christ sdg   1510-20 Oil on panel, 314 x 204,5 Galleria Nazionale d'Arte Antica, Rome
83201 Benvenuto Tisi  Benvenuto Tisi   oil on canvas, height 53 cm. ; width 40 cm. Date c.1550 cyf
92557 Christ and the Adulteress  Christ and the Adulteress   Oil on panel, 55 x 44 cm TTD
92560 Entombment  Entombment   1520s Oil on canvas, 53 x 76 cm TTD
6798 John the Baptist in the Wilderness fg  John the Baptist in the Wilderness fg   1490-95 Panel, 42 x 28 cm Staatliche Museen, Berlin
6795 Lamentation over the Dead Christ dfg  Lamentation over the Dead Christ dfg   1485-90 Wood, 175 x 139 cm Kunsthistorisches Museum, Vienna
51692 The Annuciation  The Annuciation   nn09 Oil on wood 55.2x76cm
51693 The Annunciation  The Annunciation   nn09 1550 Tempera on wood 250x165cm
84252 The Annunciation  The Annunciation   1528(1528) Medium Oil on canvas cyf
92558 The Annunciation  The Annunciation   1550 Tempera on wood TTD
6789 The Annunciation dg  The Annunciation dg   1550 Tempera on wood Pinacoteca di Brera, Milan
6792 The Bones of St. John the Baptist dfg  The Bones of St. John the Baptist dfg   c. 1485 Oil on panel, 172 x 139 cm Kunsthistorisches Museum, Vienna
92559 The Circumcision  The Circumcision   1519 Oil on wood, 37 x 50 cm TTD
6794 The Holy Kinship (detail) sdg  The Holy Kinship (detail) sdg   1475-80 Oil on wood Rijksmuseum, Amsterdam
6793 The Holy Kinship sdg  The Holy Kinship sdg   1475-80 Oil on wood, 137 x 103 cm Rijksmuseum, Amsterdam
6796 The Raising of Lazarus dg  The Raising of Lazarus dg   1480's Oil and tempera on panel Mus??e du Louvre, Paris
43019 THe Vision of Saint Augustine  THe Vision of Saint Augustine   mk170 circa 1520 Oil on wood 64.5x81.9cm
6799 Vir Dolorum dfg  Vir Dolorum dfg   c. 1495 Panel Aartsbisschoppelijke Musea, Utrecht
6800 Virgin and Child sdgg  Virgin and Child sdgg   1480s Tempera on panel, 26,8 x 20,5 cm Museum Boymans-van Beuningen, Rotterdam
92562 Virgin and Child with Saints (detail)  Virgin and Child with Saints (detail)   1530-32 Oil on wood TTD

1481-1559 Italian Garofalo Gallery Italian painter. Active mainly in Ferrara and the district around the Po delta, he was one of the most outstanding figures in Emilian classicism during the first half of the 16th century. In 1497 Garofalo father paid Boccaccio Boccaccino to teach his son the rudiments of painting. Garofalo first works were directly influenced by the Cremonese painter, to whom they were formerly even attributed. They consist of a series of small paintings depicting the Virgin and Child. The example in the Ca d Oro in Venice must have been Garofalo first painting and reveals not only the lessons learned from Boccaccino, but also signs of the influence of Domenico Panetti (c. 1460-before 1513), traditionally recorded as his first master. Another Virgin and Child (Assisi, Perkins priv. col.) shows signs of the early influence of Lorenzo Costa the elder, while the example in the Nationalmuseum, Copenhagen, shows a similarity with the early works of his contemporary, Lodovico Mazzolino. A particularly important project in Ferrara during the earliest years of the 16th century, involving numerous highly skilled artists, was the fresco decoration of the oratory of the Concezione. The frescoes (Ferrara, Pin. N.) represent a significant development in the city art. Garofalo hand has been identified in the Presentation in the Temple, in which he reveals a familiarity not only with local art, but also with the high points of Bolognese classicism, whose greatest exponents were Francesco Francia and Lorenzo Costa the elder. Around 1505, Garofalo works show a close familiarity with artistic developments in Bologna, in particular the mature style of Costa and the decoration in 1505-6, by Francesco Francia, Costa, Aspertini and others, of the oratory of S Cecilia in S Giacomo Maggiore. Garofalo Virgin Enthroned between SS Martin and Rosalia (Florence, Uffizi), created for Codigoro Cathedral, should be seen within this context, whereas the small altarpiece for the Arcivescovado, Ferrara, although executed at the same time, shows early, if faint, signs of the influence of Venetian painting of the period.

China Oil Painting Studio Team