All the oil paintings of Garofalo

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

Garofalo
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.