|
|
|
|
|
|
|
|
Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
|
|
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. |
|
|
|
|
|
|
|
|
|
|
|
Garofalo
The Annunciation dg
1550
Tempera on wood
Pinacoteca di Brera, Milan
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
Ascension of Christ sdg
1510-20
Oil on panel, 314 x 204,5
Galleria Nazionale d'Arte Antica, Rome
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
Adoration of the Kings ff
Oil on wood
Rijksmuseum, Amsterdam
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
The Bones of St. John the Baptist dfg
c. 1485
Oil on panel, 172 x 139 cm
Kunsthistorisches Museum, Vienna
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
The Holy Kinship sdg
1475-80
Oil on wood, 137 x 103 cm
Rijksmuseum, Amsterdam
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
The Holy Kinship (detail) sdg
1475-80
Oil on wood
Rijksmuseum, Amsterdam
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
Lamentation over the Dead Christ dfg
1485-90
Wood, 175 x 139 cm
Kunsthistorisches Museum, Vienna
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
The Raising of Lazarus dg
1480's
Oil and tempera on panel
Mus??e du Louvre, Paris
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
Adoration of the Magi (detail) sdg
1480-85
Panel
National Gallery, Prague
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
John the Baptist in the Wilderness fg
1490-95
Panel, 42 x 28 cm
Staatliche Museen, Berlin
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
Vir Dolorum dfg
c. 1495
Panel
Aartsbisschoppelijke Musea, Utrecht
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
Virgin and Child sdgg
1480s
Tempera on panel, 26,8 x 20,5 cm
Museum Boymans-van Beuningen, Rotterdam
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
THe Vision of Saint Augustine
mk170
circa 1520
Oil on wood
64.5x81.9cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
A Pagan Sacrifice
mk170
dated 1526
Oil on canvas
128.3x185.4cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
An Allegory of Love
mk170
1530-1535
Oil on canvas
127x177.8cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
The Annuciation
nn09
Oil on wood
55.2x76cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
The Annunciation
nn09
1550
Tempera on wood
250x165cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
Benvenuto Tisi
oil on canvas, height 53 cm. ; width 40 cm.
Date c.1550
cyf
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
The Annunciation
1528(1528)
Medium Oil on canvas
cyf
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Garofalo
Christ and the Adulteress
Oil on panel, 55 x 44 cm
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.
|
|
|
|
|
|
|
|
