All GHIRLANDAIO, Domenico 's Paintings

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Choice	ID	Image	Painting (From A to Z)	Details
	43858		Adoration of the Magi	1487 Tempera on wood,
	63010		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
	57234		An old man with a boy's portrait	mk255 for in 1490. Plastic paint dye, Yang wood 0.62 meters high, 0.46 meters wide. Paris, the Louvre
	44377		Angel Appearing to Zacharias	1486-90
	63000		Announcement of Death to St Fina	1473-75 Fresco Colleggiata, San Gimignano Next to the shining bowl is an almost empty decanter, covered by an inverted glass to protect the valuable wine. As the artist repeated both vessels in his later frescoes of the Last Supper, it is possible that they a reference to the sacrament of Holy Communion. The character of the objects, so like a still life, is an approximation to Flemish paintings, though Ghirlandaio has not yet achieved a Flemish materiality in his work. On the far right, two pomegranates are lying on a box; they may be references to the Fall of Man in the Garden of Eden. Saint Fina did not attempt to gain the biblical forbidden fruits and will therefore be made a saint. Is it possible that the large split on one of the fruits is an allusion to the bodily decay of the saint, which the artist did not dare depict in all its gruesomeness? On a framed panel on the rear wall are the Latin words that St Gregory spoke to Fina: "Be prepared my daughter, for on my feast day you will be taken up into our community and live there forever with your bridegroom." A window in the rear wall allows air and light to enter the bare room. A picture within a picture, the window appears very much like a landscape painting. The few domestic objects on the bench at the back give the room a home-like quality. Artist: GHIRLANDAIO, Domenico Painting Title: Announcement of Death to St Fina (detail) , 1451-1500 Painting Style: Italian , , religious
	6858		Announcement of Death to St Fina sdg	1473-75 Fresco Colleggiata, San Gimignano
	6851		Apse fresco dh	c. 1471 Fresco Parish Church of Sant'Andrea, Cercina
	63006		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
	6857		Baptism of Christ dfg	c. 1473 Fresco Sant'Andrea a Brozzi, San Donnino
	52595		Birth of Mary	1486-90 Fresco Cappella Tornabuoni
	63004		Birth of Mary	1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence "... One of (the women) holds the Child in her arms and makes it laugh by smiling, with a feminine grace truly worthy of a work of this great genius, each figure being distinguished in its various expressions" (Vasari). Here Ghirlandaio succeeds in convincingly continuing the rear wall of the real chapel, which has windows, into the depth of the picture, where there is also a painted window. As a result, part of the frieze of dancing putti playing instruments is in the light, and part in shadow. The figures of the nurses are also captivatingly vivid the joy of the lovely woman holding the child lights up her bright face. And the marvelous moving figure of the woman pouring water gives the picture a look of everyday life. Artist: GHIRLANDAIO, Domenico Painting Title: Birth of Mary (detail) , 1451-1500 Painting Style: Italian , , religious
	63005		Birth of St John the Baptist	1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence Here a beautiful unknown woman from the donor's immediate circle is looking at us. She is holding a small cloth in her hands, which are elegantly clasped in front of her stomach, and dressed in a gentle pink, a hue picked up in her cheeks. Two women wearing white head-dresses accompany her; the elder is probably the donor's sister, Lucrezia Tornabuoni, who died before the picture was painted. She was the mother of Lorenzo il Magnifico and sister of Giovanni. Artist: GHIRLANDAIO, Domenico Painting Title: Birth of St John the Baptist (detail) , 1451-1500 Painting Style: Italian , , religious
	52360		Calling of the First Apostles	1481 Fresco Cappella Sistina
	64765		Calling of the First Apostles	1481 Fresco Cappella Sistina, Vatican The group of women on the left side of the fresco, including a woman in blue seen from behind, anticipates the female figures Ghirlandaio paints in later works. Artist:GHIRLANDAIO, Domenico Title: Calling of the First Apostles (detail), 1451-1500, Italian , painting , religious
	62997		Coronation of the Virgin	1486 Tempera on wood Pinacoteca Comunale, Citta di Castello The Coronation in Citt?di Castello is untypical of Ghirlandaio because of its limited palette: its impact is derived primarily from the contrast of various shades of blue and red with a few yellow highlights. In contrast with the old-fashioned picture in Narni, only the female saints in the centre are kneeling; three holy men are standing on each side of them. This emphasizes the circular glory composed of airy shades of blue, giving the work a dynamic and animated character. The saints on this picture are mainly ones from the Franciscan order. On the far left stands the founder of the order, St Francis of Assisi. This altarpiece is not an autographed work, it was probably made by the workshop. Artist: GHIRLANDAIO, Domenico Painting Title: Coronation of the Virgin , 1451-1500 Painting Style: Italian , , religious
	44393		Death and Assumption of the Virgin	1486-90
	63007		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
	32339		Decoration of the Sala del Gigli	1482-84 Fresco
	63102		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
	43525		Detail of Baptism of Christ	Ghirlandaio made slight changes to Christ-s standing position and replaced the angels on the right with a kneeling male nude, who is already taking off his shoes in preparation for the baptismal ceremony.
	43519		Detail of Birth of St John the Baptist	1451-1500 Florence The small St John is being breast fed by a young nurse in the foreground, and a servant is already stretching her arms out energetically for him
	43520		Detail of Birth of St John the Baptist	1451-1500 Hers is almost a dance step, and one might well ask why.
	43522		Detail of Confirmation of the Rule	The detail shows the Loggia dei Lanzi and the Palazzo Vecchio in the background.
	43521		Detail of Presentation of the Virgin at the Temple	Fresco Cappella Tornabuoni, Santa Maria Novella, Florence Ghirlandaio was more successful in his depiction of the group of three young women on the left than in his depiction of the main events.
	43517		Detail of Stigmata of St Francis	1451-1500 Florence Three riders have stopped by a river in order to let their horses drink.
	51705		Detail of the Adoration of the Magi	nn09 1488 Tempera on wood 285x240cm
	43518		Detail of Visitation	1451-1500 A pair of women behind them are Elisabeth-s companions
	43862		Domenico	c. 1486 Ink on paper, 220 x 170 mm
	33282		Entombment of St.Fina	mk83 1473-1475 Fresco
	44379		Expulsion of Joachim from the Temple	1486-90
	52597		Herod-s Banquet	1486-90 Fresco Cappella Tornabuoni
	33394		Last Supper	mk86 1480 Fresco,total width 812cm Florence,Convent of San Marco.Refectory
	43515		Last Supper detail	1451-1500
	32342		Madonna and Child Enthroned between Angels and Saints	c. 1486 Tempera on wood,168 x 197 cm
	32341		Madonna and Child Enthroned with Saints	c. 1479 Tempera on wood, 170 x 160 cm
	43856		Madonna and Child Enthroned with Saints	c. 1483 Tempera on wood, 191 x 200 cm
	62995		Madonna and Child Enthroned with Saints	1483 Tempera on wood Galleria degli Uffizi, Florence This detail of a flower vase on a colourful carpet could be taken from a Flemish panel painting if it were painted using the oil technique developed there rather than tempera, which Ghirlandaio used. In this detail, the artist creates a positive frenzy of colours and forms to enliven the picture. Artist: GHIRLANDAIO, Domenico Painting Title: Madonna and Child Enthroned with Saints (detail) , 1451-1500 Painting Style: Italian , , still-life
	6856		Madonna and Child with St Sebastian and St Julianb ghj	c. 1473 Fresco Sant'Andrea a Brozzi, San Donnino
	32343		Madonna in Glory with Saints	1490-96 Tempera on wood, 221 x 198 cm
	6855		Madonna of Mercy gh	c. 1472 Fresco Ognissanti, Florence
	44386		Marriage of Mary	1486-90
	44387		Meeting of Augustus and the Sibyl	c. 1485
	43864		Obsequies of St Fina	1473-75
	64764		Obsequies of St Fina	1473-75 Fresco Colleggiata, San Gimignano In the long row of expressive heads Ghirlandaio already reveals his unique ability to create convincing character studies, a skill that was to bring him fame and many well paid commissions. Some of those depicted do not seem to be taking part in the ceremony, while others are deeply moved. The server at the saint's feet is more interested in his processional cross than in the ceremony, and the server next to him is looking around to keep himself amused. In the lower left corner on of the miracles can be seen: a blind choirboy who kisses her foot regains his sight. Artist:GHIRLANDAIO, Domenico Title: Obsequies of St Fina (detail), 1451-1500, Italian , painting , religious
	44388		Obsequies of St Francis	1482-85
	33395		Old Man and Young Boy	mk86 1488 Tempera on wood 62x46cm Paris,Musee National du Louvre
	44381		Portrait of the Donor Francesca Pitti-Tornabuoni	1486-90
	44380		Portrait of the Donor Francesco Sassetti	c. 1485
	52358		Portrait of the Donor Giovanni Tornabuoni	1486-90 Fresco Cappella Tornabuoni
	44378		Portrait of the Donor Nera Corsi Sassetti	c. 1485
	63003		Portrait of the Donor Nera Corsi Sassetti	1485 Fresco Santa Trinit? Florence "In two pictures on either side he painted Francesco Sassetti kneeling, and Madonna Nera, his wife and her children, the latter being in the scene above where the boy is raised to life, with some beautiful maidens of the same family" (Vasari). The two donors are in prayer on either side of the altar, as if they are taking part in the Adoration of the Shepherds depicted on the altarpiece. Linking the frescoes and the central panel painting in this way, Ghirlandaio creates what is almost a triptych. Astonishingly enough, the wife, Nera Corsi Sassetti, is occupying the traditionally more distinguished position on the right of the religious scene. At the base is the painted inscription: A.D. MCCCCLXXX. XV decembris. This could be the initial date of the work whose conclusion is in the great altarpiece with the Nativity, dated 1485. Artist: GHIRLANDAIO, Domenico Painting Title: Portrait of the Donor Nera Corsi Sassetti , 1451-1500 Painting Style: Italian , , portrait
	44390		Preaching of St John the Baptist	1486-90
	32344		Renunciation of Worldly Goods	1482-85 Fresco
	44392		Resurrection of the Boy	1482-85
	44391		Slaughter of the Innocents	1486-90
	6854		St Antony dfhh	c. 1471 Fresco Parish Church of Sant'Andrea, Cercina
	63001		St Barbara	1471 Fresco Parish Church of Sant'Andrea, Cercina The vivid colour of her garments and the different shape of her niche give greater emphasis to the figure of St Barbara, who stands between the two old men, St Jerome and St Antony. She is holding her attribute, a tower, and in contrast to the two other saints is looking directly to us. Because she was so beautiful, Barbara's pagan father locked her in a tower. She converted to Christianity, and against his wishes built in her tower a chapel, its three windows symbolizing of the Trinity. Enraged, her father had her beheaded. Here she is depicted standing triumphantly on the armor-clad corpse of her father, who has been killed by a bolt of lightning. His hands are hanging down over the cornice, where they are casting illusory shadows. Artist: GHIRLANDAIO, Domenico Painting Title: St Barbara , 1451-1500 Painting Style: Italian , , religious
	6852		St Barbara sdfgs	c. 1471 Fresco Parish Church of Sant'Andrea, Cercina
	63002		St Jerome	1471 Fresco Parish Church of Sant'Andrea, Cercina St Jerome, wearing a torn penitential robe, is looking across at St Barbara. His wiry, semi-naked body seems to have been ravaged by the hardships of his hermit life. In his right hand he is holding a stone with which to beat himself. His stance is reminiscent of classical contrapposto, his right foot protruding out of the space of the niche across the painted cornice. Artist: GHIRLANDAIO, Domenico Painting Title: St Jerome , 1451-1500 Painting Style: Italian , , religious
	6853		St Jerome fgh	c. 1471 Fresco Parish Church of Sant'Andrea, Cercina
	44384		St John the Baptist in the Desert	1486-90
	63834		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
	43524		St Luke the Evangelist	1451-1500 depicted as a young man with brown hair and a beard, is looking at a little book on his knee as he writes down the life of Christ.
43523		St Mark the Evangelist	1451-1500 Florence In the Gothic vaults of the Tornabuoni Chapel the four Evangelists are floating on clouds.
51187		St Matthew the Evangelist	1486-90 Fresco Cappella Tornabuoni
52361		Stigmata of St Francis	1482-85 Fresco Santa Trinit
43516		Stigmata of St Francis detail	1451-1500 Ghirlandaio shows a path that leads over a ramp to the gate of this monastery.
43867		Study of garments	c. 1491 Brush drawing on paper, 290 x 130 mm
43863		Study of Two Women	260 x 170 mm
44383		Test of Fire before the Sultan .	1482-85
44375		View of the Sassetti Chapel	c. 1485
52596		Zacharias Writes Down the Name of his Son	1486-90 Fresco Cappella Tornabuoni

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