GHIRLANDAIO, Domenico Huiler la Reproduction de TableauAll GHIRLANDAIO, Domenico Oil PaintingsItalian Early Renaissance Painter, 1449-1494 |
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| GHIRLANDAIO, Domenico Italian Early Renaissance Painter, 1449-1494 |
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ID de tableau:: 63006 Baptism of Christ 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 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 |
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ID de tableau:: 63007 Death and Assumption of the Virgin 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 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 |
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ID de tableau:: 63010 Adoration of the Magi 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 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 |
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ID de tableau:: 63102 Decoration of the Sala del Gigli 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 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 |
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ID de tableau:: 63834 St John the Evangelist 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 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 |
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