All GAROFALO Oil Paintings

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.
 

       Prev  1  2  3  4  5   Next
  Prev Artist       Next Artist     

   
    

GAROFALO The Annuciation oil on canvas


The Annuciation
The Annuciation
Painting ID::  51692
  nn09 Oil on wood 55.2x76cm
  nn09 Oil on wood 55.2x76cm

Height    Width


  INS/CM       Quality

X

  

GAROFALO The Annunciation oil on canvas


The Annunciation
The Annunciation
Painting ID::  51693
  nn09 1550 Tempera on wood 250x165cm
  nn09 1550 Tempera on wood 250x165cm

Height    Width


  INS/CM       Quality

X

  

GAROFALO Benvenuto Tisi oil on canvas


Benvenuto Tisi
Benvenuto Tisi
Painting ID::  83201
  oil on canvas, height 53 cm. ; width 40 cm. Date c.1550 cyf
  oil on canvas, height 53 cm. ; width 40 cm. Date c.1550 cyf

Height    Width


  INS/CM       Quality

X

  

GAROFALO The Annunciation oil on canvas


The Annunciation
The Annunciation
Painting ID::  84252
  1528(1528) Medium Oil on canvas cyf
  1528(1528) Medium Oil on canvas cyf

Height    Width


  INS/CM       Quality

X

  

GAROFALO Christ and the Adulteress oil on canvas


Christ and the Adulteress
Christ and the Adulteress
Painting ID::  92557
  Oil on panel, 55 x 44 cm TTD
  Oil on panel, 55 x 44 cm TTD

Height    Width


  INS/CM       Quality

X

  

       Prev  1  2  3  4  5   Next
Prev Artist       Next Artist     

     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.

ARTISTABCDEFGHIJKLMNOPQRSTUVWXYZ
A
rt Work: ABCDEFGHIJKLMNOPQRSTUVWXYZ


CONTACT US
Xiamen China Wholesale Oil Painting Stretcher Bar Wholesale Frame Moulding Mirror Framed Stretched Paintings