GHIRLANDAIO, Domenico
Italian Early Renaissance Painter, 1449-1494 Florentine painter, whose family name was Bigordi. He may have studied painting and mosaics under Alesso Baldovinetti. Ghirlandaio was an excellent technician. Keenly observant of the contemporary scene, he depicted many prominent Florentine personalities within his religious narrative paintings. Among his earliest frescoes are the Madonna with the Vespucci Family and the Last Supper (Church of the Ognissanti, Florence). He painted scenes from the life of Santa Fina (collegiate church in San Gimigniano) and frescoes in the Palazzo Vecchio, Florence. In 1481, Pope Sixtus IV called him to Rome, along with Botticelli, to decorate the Sistine Chapel. He painted the Calling of the First Apostles, a scene close in spirit to Masaccio. He returned to Florence to work on the frescoes in the Sassetti Chapel in Santa Trinita. He introduced Sassetti, Corsi, Poliziano, the Medici, and many other contemporaries as participants in the life of St. Francis. Ghirlandaio's most famous achievement is his fresco cycle of the life of Mary and St. John the Baptist for the choir of Santa Maria Novella. Michelangelo served an apprenticeship with him at this time and probably worked on these frescoes. Other examples of his art are the Adoration of the Magi (Uffizi); another Adoration (Hospital of the Innocents); a mosaic of the Annunciation for the Cathedral; a portrait of Francesco Sassetti and his son (Metropolitan Mus.);
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GHIRLANDAIO, Domenico Baptism of Christ oil painting


Baptism of Christ
1473 Fresco Sant'Andrea a Brozzi, San Donnino The fresco is in the tympanum above the Madonna and Child with Saints. Two angels are kneeling on the left bank of the river Jordan, shown as a little flat stream flowing towards us. They are holding the clothes of the person being baptized, who is clad only in a loincloth. Christ is standing in water up to his ankles. St John the Baptist, in a fur robe, is gathering up his cloak and stepping carefully on to a stone to baptize Christ. This fresco, because of its poorer quality, is frequently attributed to assistants from Ghirlandaio's workshop. It is a loose copy of the famous panel painting which Verrocchio painted with the help of his assistant Leonardo da Vinci. Ghirlandaio added the two praying angels on the right of his composition, and these, together with the corresponding figures on the other side of the river, form a compositional frame for the work.. This assumption that clear symmetrical balance is important shows that the artist was still rather conservative. Artist: GHIRLANDAIO, Domenico Painting Title: Baptism of Christ , 1451-1500 Painting Style: Italian , , religious
Painting ID::  63006 		GHIRLANDAIO, Domenico
Baptism of Christ
1473 Fresco Sant'Andrea a Brozzi, San Donnino The fresco is in the tympanum above the Madonna and Child with Saints. Two angels are kneeling on the left bank of the river Jordan, shown as a little flat stream flowing towards us. They are holding the clothes of the person being baptized, who is clad only in a loincloth. Christ is standing in water up to his ankles. St John the Baptist, in a fur robe, is gathering up his cloak and stepping carefully on to a stone to baptize Christ. This fresco, because of its poorer quality, is frequently attributed to assistants from Ghirlandaio's workshop. It is a loose copy of the famous panel painting which Verrocchio painted with the help of his assistant Leonardo da Vinci. Ghirlandaio added the two praying angels on the right of his composition, and these, together with the corresponding figures on the other side of the river, form a compositional frame for the work.. This assumption that clear symmetrical balance is important shows that the artist was still rather conservative. Artist: GHIRLANDAIO, Domenico Painting Title: Baptism of Christ , 1451-1500 Painting Style: Italian , , religious
   
   
     
GHIRLANDAIO, Domenico Death and Assumption of the Virgin oil painting


Death and Assumption of the Virgin
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence In the final scene, painted in the large pointed tympanum on the left wall of the chapel, two events, the Death and Assumption of the Virgin, are depicted in one picture. In this last story "... is the Passing of Our Lady and her Assumption, with troops of angels, a number of figures, landscapes and other ornaments, in which Domenico's easy and skilful style usually abounds" (Vasari). The composition and execution of this poorly preserved fresco are poorer than in the other pictures in the chapel. In its solemn character the scene is comparable with the considerably better Obsequies in the Saint Fina and the Sassetti chapels. Mary's body is lying on a bier in an open space, mourned by the grieving Apostles. Four angels are carrying long candles or palm leaves. The dead Mary's pale face is old, her cheeks sunken. But in a glory above her, a young and beautiful Virgin with a rosy face is being carried up to heaven by angels to meet her son. Artist: GHIRLANDAIO, Domenico Painting Title: Death and Assumption of the Virgin , 1451-1500 Painting Style: Italian , , religious
Painting ID::  63007 		GHIRLANDAIO, Domenico
Death and Assumption of the Virgin
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence In the final scene, painted in the large pointed tympanum on the left wall of the chapel, two events, the Death and Assumption of the Virgin, are depicted in one picture. In this last story "... is the Passing of Our Lady and her Assumption, with troops of angels, a number of figures, landscapes and other ornaments, in which Domenico's easy and skilful style usually abounds" (Vasari). The composition and execution of this poorly preserved fresco are poorer than in the other pictures in the chapel. In its solemn character the scene is comparable with the considerably better Obsequies in the Saint Fina and the Sassetti chapels. Mary's body is lying on a bier in an open space, mourned by the grieving Apostles. Four angels are carrying long candles or palm leaves. The dead Mary's pale face is old, her cheeks sunken. But in a glory above her, a young and beautiful Virgin with a rosy face is being carried up to heaven by angels to meet her son. Artist: GHIRLANDAIO, Domenico Painting Title: Death and Assumption of the Virgin , 1451-1500 Painting Style: Italian , , religious
   
   
     
GHIRLANDAIO, Domenico Adoration of the Magi oil painting


Adoration of the Magi
1488 Tempera on wood, 285 x 240 cm Spedale degli Innocenti, Florence Vasari writes about the painting: "In the church of the Innocenti he painted in tempera a much-admired picture of the Magi, containing some fine heads and varied physiognomies of people both young and old, notably a head of the Virgin, displaying all the modesty, beauty and grace which art can impart to the Mother of God". There are so many saints in this Adoration that it is not easy to make out the three Magi. On the left, Saint John the Baptist is kneeling and pointing to the Madonna. The orphans of the Spedale are represented by two of the innocent boys who were killed during the Slaughter of the Innocents in Bethlehem, kneeling in the foreground. There are gaping bloody wounds to their faces, arms and necks. In this Adoration of the Magi, Ghirlandaio's carefully thought out use of colour is particularly impressive: Ghirlandaio distributes the glowing colours evenly. Mary in the centre is wearing a blue cloak over a red dress. The oldest king kneeling in front of her is wearing a variation of these colours combined with yellow. To the left of Mary, the youngest king holding the valuable goblet in his hand - he almost looks like Saint John the Evangelist - is also dressed in blue, yellow and red. The figure standing on the right edge of the picture wearing an expensive hat repeats this combination of colours, though now the blue and yellow are reversed. In the second figure from the right, wearing the blue hat, the Madonna's colours of red and blue are visible again, and they are repeated in clothes of the bearded man wearing a turban on the left edge of the picture. Between the Madonna and the man with the blue hat on the right, the artist creates a yellow highlight, though with a weaker blue accent, in the figure of Joseph. This row of figures alone produces a rhythm of colour from left to right: red and blue; yellow, blue and red; red and blue; yellow and blue; red and blue; yellow, blue and red. The work represents one of Ghirlandaio's most important "easel" works. Here too the assistants were at work. Indeed, in the scene of the Slaughter of the Innocents in the background, Berenson recognized the hand of Bartolomeo di Giovanni, the author of the stories from the predella. Artist: GHIRLANDAIO, Domenico Painting Title: Adoration of the Magi , 1451-1500 Painting Style: Italian , , religious
Painting ID::  63010 		GHIRLANDAIO, Domenico
Adoration of the Magi
1488 Tempera on wood, 285 x 240 cm Spedale degli Innocenti, Florence Vasari writes about the painting: "In the church of the Innocenti he painted in tempera a much-admired picture of the Magi, containing some fine heads and varied physiognomies of people both young and old, notably a head of the Virgin, displaying all the modesty, beauty and grace which art can impart to the Mother of God". There are so many saints in this Adoration that it is not easy to make out the three Magi. On the left, Saint John the Baptist is kneeling and pointing to the Madonna. The orphans of the Spedale are represented by two of the innocent boys who were killed during the Slaughter of the Innocents in Bethlehem, kneeling in the foreground. There are gaping bloody wounds to their faces, arms and necks. In this Adoration of the Magi, Ghirlandaio's carefully thought out use of colour is particularly impressive: Ghirlandaio distributes the glowing colours evenly. Mary in the centre is wearing a blue cloak over a red dress. The oldest king kneeling in front of her is wearing a variation of these colours combined with yellow. To the left of Mary, the youngest king holding the valuable goblet in his hand - he almost looks like Saint John the Evangelist - is also dressed in blue, yellow and red. The figure standing on the right edge of the picture wearing an expensive hat repeats this combination of colours, though now the blue and yellow are reversed. In the second figure from the right, wearing the blue hat, the Madonna's colours of red and blue are visible again, and they are repeated in clothes of the bearded man wearing a turban on the left edge of the picture. Between the Madonna and the man with the blue hat on the right, the artist creates a yellow highlight, though with a weaker blue accent, in the figure of Joseph. This row of figures alone produces a rhythm of colour from left to right: red and blue; yellow, blue and red; red and blue; yellow and blue; red and blue; yellow, blue and red. The work represents one of Ghirlandaio's most important "easel" works. Here too the assistants were at work. Indeed, in the scene of the Slaughter of the Innocents in the background, Berenson recognized the hand of Bartolomeo di Giovanni, the author of the stories from the predella. Artist: GHIRLANDAIO, Domenico Painting Title: Adoration of the Magi , 1451-1500 Painting Style: Italian , , religious
   
   
     
GHIRLANDAIO, Domenico Decoration of the Sala del Gigli oil painting


Decoration of the Sala del Gigli
1482-84 Fresco Palazzo Vecchio, Florence Under the side arches stand historical characters who embody civic and republican virtues. In these figures Ghirlandaio produced very detailed variations of Roman armor and the classical contrapposto postures, features portrayed with considerable archeological accuracy. On the right Decius, Scipio and Cicero are depicted. Artist: GHIRLANDAIO, Domenico Painting Title: Decoration of the Sala del Gigli (detail) , 1451-1500 Painting Style: Italian , , historical
Painting ID::  63102 		GHIRLANDAIO, Domenico
Decoration of the Sala del Gigli
1482-84 Fresco Palazzo Vecchio, Florence Under the side arches stand historical characters who embody civic and republican virtues. In these figures Ghirlandaio produced very detailed variations of Roman armor and the classical contrapposto postures, features portrayed with considerable archeological accuracy. On the right Decius, Scipio and Cicero are depicted. Artist: GHIRLANDAIO, Domenico Painting Title: Decoration of the Sala del Gigli (detail) , 1451-1500 Painting Style: Italian , , historical
   
   
     
GHIRLANDAIO, Domenico St John the Evangelist oil painting


St John the Evangelist
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence In the Gothic vaults of the Tornabuoni Chapel the four Evangelists are floating on clouds. St John the Evangelist is writing down God's words, which are being conveyed to him by his symbolic animal, the eagle, on a piece of paper.Artist:GHIRLANDAIO, Domenico Title: St John the Evangelist Painted in 1451-1500 , Italian - - painting : religious
Painting ID::  63834 		GHIRLANDAIO, Domenico
St John the Evangelist
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence In the Gothic vaults of the Tornabuoni Chapel the four Evangelists are floating on clouds. St John the Evangelist is writing down God's words, which are being conveyed to him by his symbolic animal, the eagle, on a piece of paper.Artist:GHIRLANDAIO, Domenico Title: St John the Evangelist Painted in 1451-1500 , Italian - - painting : religious
   
   
     
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     GHIRLANDAIO, Domenico
     Italian Early Renaissance Painter, 1449-1494 Florentine painter, whose family name was Bigordi. He may have studied painting and mosaics under Alesso Baldovinetti. Ghirlandaio was an excellent technician. Keenly observant of the contemporary scene, he depicted many prominent Florentine personalities within his religious narrative paintings. Among his earliest frescoes are the Madonna with the Vespucci Family and the Last Supper (Church of the Ognissanti, Florence). He painted scenes from the life of Santa Fina (collegiate church in San Gimigniano) and frescoes in the Palazzo Vecchio, Florence. In 1481, Pope Sixtus IV called him to Rome, along with Botticelli, to decorate the Sistine Chapel. He painted the Calling of the First Apostles, a scene close in spirit to Masaccio. He returned to Florence to work on the frescoes in the Sassetti Chapel in Santa Trinita. He introduced Sassetti, Corsi, Poliziano, the Medici, and many other contemporaries as participants in the life of St. Francis. Ghirlandaio's most famous achievement is his fresco cycle of the life of Mary and St. John the Baptist for the choir of Santa Maria Novella. Michelangelo served an apprenticeship with him at this time and probably worked on these frescoes. Other examples of his art are the Adoration of the Magi (Uffizi); another Adoration (Hospital of the Innocents); a mosaic of the Annunciation for the Cathedral; a portrait of Francesco Sassetti and his son (Metropolitan Mus.);

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