Alla Domenico Ghirlandaio s Oljemålningar
Vilja ID Bild  Oljemålningar Från A to Z       Information 
40258 Adoration of the Magi  Adoration of the Magi   mk156 1488 Tempera on panel
62412 Adoration of the Magi  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  Adoration of the Magi qq   1488 Spedale degli Innocenti, Florence
62410 Adoration of the Shepherds  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  An Old Man and his Grandson   1480 Musee du Louvre, Paris
59052 An Old Man and His Grandson  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  An Old man with his grandson   mk156 1488 Tempera on panel 62x46cm
1470 Announcement of Death to Saint Fina  Announcement of Death to Saint Fina   1475 Collegiate Church, San Gimignano
62403 Annunciation  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  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  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  Calling of the Apostles   Date 1481 Medium fresco Dimensions 349 x 570 cm cyf
1460 Christ in Heaven with Four Saints and a Donor  Christ in Heaven with Four Saints and a Donor   Civic Picture Gallery and Museum, Volterra
52363 Confirmation of the Rule  Confirmation of the Rule   1482-85
26707 Detail from Saint Francis Restoring a Child to Life  Detail from Saint Francis Restoring a Child to Life   mk52
51732 Detail of christ in Glory  Detail of christ in Glory   nn09 1492 Tempera on wood 294x190cm
41950 Domenico Ghirlandaio  Domenico Ghirlandaio   mk166 1491 Painting on wood 172x165cm Museum of the Louvre, Paris
42629 family chapel of the Sassetti  family chapel of the Sassetti   MK169 1479-86 S. Trinita Florence
55973 francesco sassetti and his son teodoro  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  Its image   the mk261 Florence, the Ukrainian Fiji art museum, in 1890 numbered 602.
56807 Joe Tonelli million Nabo Ni  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  John Dop feed   mk234 ca 1485-90
21223 Last Supper (mk08)  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  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  Madonna Enthroned with the Saints q   1484 Galleria degli Uffizi, Florence
1465 Nativity 1  Nativity 1   1485 Santa Trinita, Florence
1467 Obsequies of St.Francis  Obsequies of St.Francis  
21224 Old Man and Young Boy (mk08)  Old Man and Young Boy (mk08)   1488 Tempera on wood. 62x46cm Paris,Musee National du Louvre
55975 old man with a young boy  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  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  Portrait of a Lady   oil on panel painting by Benedetto Ghirlandaio
42875 Portrait of a young man in red  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   Portrait of a Young Woman
20061 Portrait of an Old Man with a Young Boy (mk05)  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)  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  Portrait of Giovanni Tornabuoni   1488 Thyssen-Bornemisza Collection, Lugano
26708 Saint Francis Restoring a Child to Life  Saint Francis Restoring a Child to Life   mk52 c.1458 Fresco S.Triita,Florence
1468 Saint Jerome in his Study dd  Saint Jerome in his Study dd   1480 Church of Ognissanti, Florence
1466 Slaughter of the Innocents qqq  Slaughter of the Innocents qqq   1485 Church of Santa Maria Novella, Florence
98427 St Barbara Crushing her Infidel Father, with a Kneeling Donor  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  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   Supposed self-portrait in Adoration of the Magi, 1488 (Ospedale degli Innocenti, Florence
38463 The adoration of the Konige  The adoration of the Konige   mk137 1488 Tempera on wood chalkboard diameter 171cm Galleria degli Uffizi, Florence.
28872 The Adoration of the Magi  The Adoration of the Magi   mk65 Oil on panel 67 11/16in
1463 The Adoration of the Magi aa  The Adoration of the Magi aa   1487 Galleria degli Uffizi, Florence
45633 The communion  The communion   mk186 around 1476 Passignano, abbey
45684 The communion  The communion   mk186 around 148 Florence, Refektorium of the cloister Ognissanti
45680 The guest meal of the here ode  The guest meal of the here ode   mk186 1486-90 Florence church Santa Maria Novella Tornabuoni chapel
78043 The Suicide of Lucrezia  The Suicide of Lucrezia   1518(1518) Oil on linden 168 x 74,8 cm cjr
42871 THe Virgin and Child  THe Virgin and Child   mk170 1480-1490 Tempera on poplar 88.9x57.8cm
20062 The Virgin and Child (mk05)  The Virgin and Child (mk05)   Wood 31 x 22''(79 x 56 cm)Entered the Louvre in 1899
20058 The Visitation (mk05)  The Visitation (mk05)   Wood 67 1/2 x 65''(117 x 165 cm)Entered the Louvre in 1812
28128 Triumphal Arch  Triumphal Arch   mk61 c.1608-1610 Oil on canvas 70x60cm
1459 Visitation 8  Visitation 8   1491 Musee du Louvre, Paris
Domenico Ghirlandaio
Italian 1449-1494 Domenico Ghirlandaio Galleries Painter, mosaicist and possibly goldsmith. He was head of one of the most active workshops in late 15th-century Florence. He developed a style of religious narrative that blended the contemporary with the historical in a way that updated the basic tenets of early Renaissance art. Domenico documented material situation



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