|
ID |
Image |
Painting(From A to Z) |
Details |
|
40258 |
|
Adoration of the Magi |
mk156
1488
Tempera on panel
|
|
62412 |
|
Adoration of the Magi |
1488 Tempera on wood Spedale degli Innocenti, Florence Ghirlandaio (second from the right) gazes out at us from this picture, more modestly than in his other self-portrait (like in the Tornabuoni Chapel or in the Sassetti Chapel). It is thought that the churchman dressed in black in front of him is the man who commissioned the panel painting, Francesco di Giovanni Tesori. Above these two portraits, the Slaughter of the Innocents in Bethlehem is shown. The town beyond this, in which we can see monuments such as the Colosseum, Trajan's Column, the Torre del Milizie, and a pyramid, is meant to be reminiscent of Rome |
|
1462 |
|
Adoration of the Magi qq |
1488
Spedale degli Innocenti, Florence |
|
62410 |
|
Adoration of the Shepherds |
167 x 167 cm Santa Trinit? Florence "He painted in tempera, as a companion to this work, a Nativity of Christ which must excite the wonder of every thinking man, introducing his own portrait and some heads of shepherds, which are considered divine" (Vasari). The Sassetti Chapel is consecrated to the birth of Christ, and as a result much in the chapel is conceived with that event in mind. The altarpiece the Adoration of the Shepherds is the chapel 's key work not only in subject, but also in artistic merit. This composition was so successful that other artists frequently repeated it. Ghirlandaio himself appears in the scene, dressed as a shepherd. He is even allowed to come closer to the Christ Child than the donors, who appear in frescoes to the right and left, praying outside the confines of the panel. The artist, who is leading the shepherds, is kneeling and bringing the miracle of the birth of Christ to the attention of both the shepherds and the observers of the picture. His left hand, with which he is pointing to the Christ Child, is finely drawn and is superbly modelled in three dimensions. With his right hand, his painting hand, he is pointing to his chest, as he does in a later fresco in the Tornabuoni Chapel. As Ghirlandaio is pointing both at the child and the garlands on the Roman marble sarcophagus, it is possible that the gesture is saying: "This holy child was painted for you by me, the garland-maker Ghirlandaio." The classical sarcophagus in the picture is not just a manger for the ox and ass. It also has an iconographical significance indicated by the Latin inscription along its front: Ense cadens. Solymo. Pompei Pului[us] Augur Numen. Ait. Quae me conteg[it] Urna Dabit. [While Fulvi(us), augur of Pompey, was falling by the sword in Jerusalem he said: the urn that covers (conceals) me shall bring forth a god]. This is an ancient prophecy by Fulvius. The animals' manger will serve as a crib for the Christ Child. In his Adoration of the Shepherds, Ghirlandaio combines this reference to the Roman classical age with knowledge of Flemish art and turns them into an integrated whole. An historic event that took place a few years before this work was painted clearly left its mark behind on Ghirlandaio's work. An altarpiece ordered by Tommaso Portinari from Hugo van der Goes in Bruges reached Florence in May 1483. Florentine artists saw van der Goes' Adoration of the Shepherds as a shining comet showing new ways of painting. In Ghirlandaio's altarpiece, the shepherds pushing their way into the picture from the right, with their harsh, life-like features, are drawn directly from this Flemish model. Ghirlandaio's landscape in the background also displays features from north of the Alps |
|
1469 |
|
An Old Man and his Grandson |
1480
Musee du Louvre, Paris |
|
59052 |
|
An Old Man and His Grandson |
An Old Man and His Grandson (ca. 1490) Tempera on wood, 62 x 46 cm. Louvre, Paris |
|
40262 |
|
An Old man with his grandson |
mk156
1488
Tempera on panel
62x46cm
|
|
1470 |
|
Announcement of Death to Saint Fina |
1475
Collegiate Church, San Gimignano |
|
62403 |
|
Annunciation |
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence At the height of the Presentation of the Virgin and the Marriage of Mary - above the corner of the chapel and connecting with the rear wall next to the Gothic window - there is the narrow fresco the Annunciation. Again Ghirlandaio has moved the scene of this biblical event to Tuscany and his own era. He was able to find the traditional Renaissance form of a painted window with a view of a landscape in many Florentine palaces. They can still be seen today in Florence, examples being the palaces of the Medici, Ruccelai and Strozzi families. The angel is derived from the Annunciation painted by the young Leonardo da Vinci between 1472 and 1475, now on view in the Galleria degli Uffizi. In contrast to Leonardo's horizontal format, in Ghirlandaio's fresco in the predetermined vertical format his Virgin may be depicted facing the observer in an equally frontal view, but she is standing upright. She is therefore reminiscent of the beautiful picture on the same theme by Lorenzo di Credi, an artist who was also taught by Verrocchio together with Leonardo and Ghirlandaio |
|
62999 |
|
Annunciation |
1489-90 Mosaic Porta della Mandorla, Duomo, Florence In addition to the fresco in the Tornabuoni Chapel, Ghirlandaio created another Annunciation between 1489 and 1490 using the ancient mosaic technique, which he had learnt from Alessio Baldovinetti and which he had been able to employ when restoring a few old mosaics. There is no lectern in this mosaic version of the Annunciation, though the influence of Leonardo's painting is still felt, particularly in the spatial arrangement - a building on the left behind Mary and a view over a wall to a landscape. Above the Porta della Mandorla on Florence Cathedral there still exists this mosaic. Vasari wrote the following comment on it: "Domenico enriched the modern art of working in mosaic infinitely more than any other Tuscan, as his works, though few, amply demonstrate...". Of this mosaic destined for the Porta della Mandorla Domenico only executed the cartoon, which was probably translated into mosaic by his brother David. Artist: GHIRLANDAIO, Domenico Painting Title: Annunciation , 1451-1500 Painting Style: Italian , , religious |
|
62404 |
|
Birth of St John the Baptist |
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence The Birth of St John the Baptist and the Zacharias Writes Down the Name of his Son can be found on the second level of the right wall. The scene is described by Vasari. "... the birth of St John, with a beautiful idea that, while Elisabeth is in bed and being visited by her neighbours and a nurse is suckling the child, a woman is eagerly calling the attention of the visitors to the wonder that has come to her mistress in her old age; and lastly there is a woman bringing fruit and wine from the city, in conformity with the Florentine custom. This is very fine". In the Birth of Saint John the Baptist Ghirlandaio once again created a room flooded with light and air. We can well imagine that the palace rooms of Ghirlandaio's patrons being similar to this. In this picture he makes use of contrasting complementary colours by placing the red bedspread in front of the green wall hanging. In front of the wall hanging, a maid dressed in red and green is carrying a tray with carafes of water and wine for the refreshment of the woman in childbed. The golden orange hues of the pilasters and entablatures form a complementary contrast with the light blue of aged Elizabeth and the young maid coming in from at the far right. Such colour schemes help to create the captivating clarity that characterizes so much of Ghirlandaio's work. It is not just the age of Elizabeth and her maid that contrast, but also their respective auras of stillness and movement. Nowadays it is astonishing to think that Savonarola, the severe preacher of repentance, could have taken exception to this superb maid. She corresponds to the nurse on the far left, who is stretching out her arms eagerly. The two figures form an exciting frame for the quiet scene taking place in-between. In the Birth of John the Baptist, Elizabeth is visited by female representatives of the donor family - as is Anne in the birth scene on the opposite wall. The only figure that can be identified is that of the poet Lucrezia Tornabuoni, who was known for being very virtuous. She was the mother of Lorenzo de' Medici and a friend of the humanist Agnolo Poliziano and Luigi Pulci, portrayed in the Sassetti Chapel together with her son. There is actually nothing in this scene to suggest that it is depicting an event from the story of St John - with the sole exception of the severely weather-beaten halo surrounding Elizabeth's head. In this scene from everyday life, Ghirlandaio surpassed even his beautiful Birth of Mary. In addition to the marvelous basket of fruit, he added another two still-lifes to the picture in order to make it appear more home-like and realistic. On the far left two objects, a brass jug and bowl, that we are already familiar with from the fresco the Last Supper in the church of Ognissanti, and from the frescoes in the Santa Fina Chapel. At the top of the bed's headboard, next to the window, there is a symmetrical arrangement of a box, two pomegranates and a vase, reminiscent of both Saint Jerome's study and the frescoes in the Saint Fina Chapel. All these things once again bring Flemish painting to mind, which during this period made widespread use of everyday secular details as accessories. The miniature depicting the birth of Saint John the Baptist in the Turin/Milan Book of Hours is an outstanding example - a superb work that was most probably painted by Jan van Eyck himself, though its attribution is just as disputed as its date. Author: GHIRLANDAIO, Domenico Title: Birth of St John the Baptist , 1451-1500 , Italian Form: painting , religious |
|
75220 |
|
Calling of the Apostles |
Date 1481
Medium fresco
Dimensions 349 x 570 cm
cyf |
|
1460 |
|
Christ in Heaven with Four Saints and a Donor |
Civic Picture Gallery and Museum, Volterra |
|
52363 |
|
Confirmation of the Rule |
1482-85 |
|
26707 |
|
Detail from Saint Francis Restoring a Child to Life |
mk52 |
|
51732 |
|
Detail of christ in Glory |
nn09
1492
Tempera on wood
294x190cm
|
|
41950 |
|
Domenico Ghirlandaio |
mk166
1491
Painting on wood
172x165cm
Museum of the Louvre, Paris |
|
42629 |
|
family chapel of the Sassetti |
MK169
1479-86 S. Trinita Florence |
|
55973 |
|
francesco sassetti and his son teodoro |
mk247
c.1487 ,tempera on wood ,33x25 in,84x63 cm,metropolitan museum of art,new york,ny,usa |
|
58156 |
|
Its image |
the mk261 Florence, the Ukrainian Fiji art museum, in 1890 numbered 602. |
|
56807 |
|
Joe Tonelli million Nabo Ni |
mk250 Year in 1488. Oil painting and the egg color of wood, about 76.2 x 50.8 cm. Madrid, Spain collection. |
|
53721 |
|
John Dop feed |
mk234
ca 1485-90 |
|
21223 |
|
Last Supper (mk08) |
1480
Fresco,total width812cm
Florence,Convent of San Marco,Refectory |
|
28873 |
|
Madonna and Child Enthroned with Four Angels,the Archangels Michael and Raphael,and SS.Giusto and Ze-nobius |
mk65
Oil on tempera on panel
75 3/16x78 3/4in
|
|
1464 |
|
Madonna Enthroned with the Saints q |
1484
Galleria degli Uffizi, Florence |
|
1465 |
|
Nativity 1 |
1485
Santa Trinita, Florence |
|
1467 |
|
Obsequies of St.Francis |
|
|
21224 |
|
Old Man and Young Boy (mk08) |
1488
Tempera on wood.
62x46cm
Paris,Musee National du Louvre |
|
55975 |
|
old man with a young boy |
c.1490,oil on panel ,24x18 in,62x64 cm,louvre,paris,france |
|
56808 |
|
Our Lady of the birth of |
mk250 in Florence, Italy, the new Santa Maria church in the main chapel. In the year 1485-1490. Frescoes. |
|
69664 |
|
Portrait of a Lady |
oil on panel painting by Benedetto Ghirlandaio |
|
42875 |
|
Portrait of a young man in red |
mk170
21485-1490
Tempera on wood
38.7x27.6cm
|
|
59053 |
|
Portrait of a Young Woman |
Portrait of a Young Woman |
|
20061 |
|
Portrait of an Old Man with a Young Boy (mk05) |
Wood 25 x 18''(63 x 46 cm)Entered the Louvre in 1886 |
|
23300 |
|
Portrait of Giovanna Tornabuoni (nn03) |
1488Tempera on panel 77 x 49 cm 30 1/4 x 19 1/4 in Fundacion Coleccion Thyssen-Bornemisza Madrid |
|
1461 |
|
Portrait of Giovanni Tornabuoni |
1488
Thyssen-Bornemisza Collection, Lugano |
|
26708 |
|
Saint Francis Restoring a Child to Life |
mk52
c.1458
Fresco
S.Triita,Florence
|
|
1468 |
|
Saint Jerome in his Study dd |
1480
Church of Ognissanti, Florence |
|
1466 |
|
Slaughter of the Innocents qqq |
1485
Church of Santa Maria Novella, Florence |
|
98427 |
|
St Barbara Crushing her Infidel Father, with a Kneeling Donor |
circa 1473(1473)
Medium panel
Dimensions Height: 68 cm (26.8 in). Width: 47 cm (18.5 in).
|
|
62402 |
|
Study |
220 x 170 mm Galleria degli Uffizi, Florence The picture shows a study to the fresco of the Birth of Mary executed in the Cappella Tornabuoni of the Santa Maria Novella in Florence. The only figure in the fresco who conveys any sense of movement is the servant pouring water into a brass basin for the child to bathe in. Ghirlandaio prepared for the painting by drawing this detailed individual study. The cloth fluttering behind her is lower in the fresco than here, in order not to obstruct our view of Anne. The sleeves were also altered at her elbows. The cross-hatching and the strong contours so typical of Ghirlandaio's style of drawing are clearly recognizable |
|
59054 |
|
Supposed self portrait in Adoration of the Magi |
Supposed self-portrait in Adoration of the Magi, 1488 (Ospedale degli Innocenti, Florence |
|
38463 |
|
The adoration of the Konige |
mk137
1488 Tempera on wood chalkboard diameter 171cm Galleria
degli Uffizi, Florence.
|
|
28872 |
|
The Adoration of the Magi |
mk65
Oil on panel
67 11/16in
|
|
1463 |
|
The Adoration of the Magi aa |
1487
Galleria degli Uffizi, Florence |
|
45633 |
|
The communion |
mk186
around 1476 Passignano, abbey |
|
45684 |
|
The communion |
mk186
around 148 Florence, Refektorium of the cloister Ognissanti |
|
45680 |
|
The guest meal of the here ode |
mk186
1486-90 Florence church Santa Maria Novella Tornabuoni chapel |
|
78043 |
|
The Suicide of Lucrezia |
1518(1518)
Oil on linden
168 x 74,8 cm
cjr |
|
42871 |
|
THe Virgin and Child |
mk170
1480-1490
Tempera on poplar
88.9x57.8cm
|
|
20062 |
|
The Virgin and Child (mk05) |
Wood 31 x 22''(79 x 56 cm)Entered the Louvre in 1899 |
|
20058 |
|
The Visitation (mk05) |
Wood 67 1/2 x 65''(117 x 165 cm)Entered the Louvre in 1812 |
|
28128 |
|
Triumphal Arch |
mk61
c.1608-1610
Oil on canvas
70x60cm
|
|
1459 |
|
Visitation 8 |
1491
Musee du Louvre, Paris |
