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



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