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Domenico Ghirlandaio Oil Painting Reproductions
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Domenico Ghirlandaio The communion oil


Domenico Ghirlandaio
The communion
Painting ID::  45633
new17/Domenico Ghirlandaio-564526.jpg 		The communion
mk186 around 1476 Passignano, abbey
   
   
     
Domenico Ghirlandaio The guest meal of the here ode oil


Domenico Ghirlandaio
The guest meal of the here ode
Painting ID::  45680
new17/Domenico Ghirlandaio-863864.jpg 		The guest meal of the here ode
mk186 1486-90 Florence church Santa Maria Novella Tornabuoni chapel
   
   
     
Domenico Ghirlandaio The communion oil


Domenico Ghirlandaio
The communion
Painting ID::  45684
new17/Domenico Ghirlandaio-226737.jpg 		The communion
mk186 around 148 Florence, Refektorium of the cloister Ognissanti
   
   
     
Domenico Ghirlandaio Detail of christ in Glory oil


Domenico Ghirlandaio
Detail of christ in Glory
Painting ID::  51732
new19/Domenico Ghirlandaio-652853.jpg 		Detail of christ in Glory
nn09 1492 Tempera on wood 294x190cm
   
   
     
Domenico Ghirlandaio Confirmation of the Rule oil


Domenico Ghirlandaio
Confirmation of the Rule
Painting ID::  52363
new19/Domenico Ghirlandaio-284454.jpg 		Confirmation of the Rule
1482-85
   
   
     
Domenico Ghirlandaio John Dop feed oil


Domenico Ghirlandaio
John Dop feed
Painting ID::  53721
new19/Domenico Ghirlandaio-937235.jpg 		John Dop feed
mk234 ca 1485-90
   
   
     
Domenico Ghirlandaio francesco sassetti and his son teodoro oil


Domenico Ghirlandaio
francesco sassetti and his son teodoro
Painting ID::  55973
new20/Domenico Ghirlandaio-473963.jpg 		francesco sassetti and his son teodoro
mk247 c.1487 ,tempera on wood ,33x25 in,84x63 cm,metropolitan museum of art,new york,ny,usa
   
   
     
Domenico Ghirlandaio old man with a young boy oil


Domenico Ghirlandaio
old man with a young boy
Painting ID::  55975
new20/Domenico Ghirlandaio-737734.jpg 		old man with a young boy
c.1490,oil on panel ,24x18 in,62x64 cm,louvre,paris,france
   
   
     
Domenico Ghirlandaio Joe Tonelli million Nabo Ni oil


Domenico Ghirlandaio
Joe Tonelli million Nabo Ni
Painting ID::  56807
new20/Domenico Ghirlandaio-729373.jpg 		Joe Tonelli million Nabo Ni
mk250 Year in 1488. Oil painting and the egg color of wood, about 76.2 x 50.8 cm. Madrid, Spain collection.
   
   
     
Domenico Ghirlandaio Our Lady of the birth of oil


Domenico Ghirlandaio
Our Lady of the birth of
Painting ID::  56808
new20/Domenico Ghirlandaio-334264.jpg 		Our Lady of the birth of
mk250 in Florence, Italy, the new Santa Maria church in the main chapel. In the year 1485-1490. Frescoes.
   
   
     
Domenico Ghirlandaio Its image oil


Domenico Ghirlandaio
Its image
Painting ID::  58156
new20/Domenico Ghirlandaio-564299.jpg 		Its image
the mk261 Florence, the Ukrainian Fiji art museum, in 1890 numbered 602.
   
   
     
Domenico Ghirlandaio An Old Man and His Grandson oil


Domenico Ghirlandaio
An Old Man and His Grandson
Painting ID::  59052
new21/Domenico Ghirlandaio-598822.jpg 		An Old Man and His Grandson
An Old Man and His Grandson (ca. 1490) Tempera on wood, 62 x 46 cm. Louvre, Paris
   
   
     
Domenico Ghirlandaio Portrait of a Young Woman oil


Domenico Ghirlandaio
Portrait of a Young Woman
Painting ID::  59053
new21/Domenico Ghirlandaio-926469.jpg 		Portrait of a Young Woman
Portrait of a Young Woman
   
   
     
Domenico Ghirlandaio Supposed self portrait in Adoration of the Magi oil


Domenico Ghirlandaio
Supposed self portrait in Adoration of the Magi
Painting ID::  59054
new21/Domenico Ghirlandaio-686468.jpg 		Supposed self portrait in Adoration of the Magi
Supposed self-portrait in Adoration of the Magi, 1488 (Ospedale degli Innocenti, Florence
   
   
     
Domenico Ghirlandaio Study oil


Domenico Ghirlandaio
Study
Painting ID::  62402
new21/Domenico Ghirlandaio-765465.jpg 		Study
220 x 170 mm Galleria degli Uffizi, Florence The picture shows a study to the fresco of the Birth of Mary executed in the Cappella Tornabuoni of the Santa Maria Novella in Florence. The only figure in the fresco who conveys any sense of movement is the servant pouring water into a brass basin for the child to bathe in. Ghirlandaio prepared for the painting by drawing this detailed individual study. The cloth fluttering behind her is lower in the fresco than here, in order not to obstruct our view of Anne. The sleeves were also altered at her elbows. The cross-hatching and the strong contours so typical of Ghirlandaio's style of drawing are clearly recognizable
   
   
     
Domenico Ghirlandaio Annunciation oil


Domenico Ghirlandaio
Annunciation
Painting ID::  62403
new21/Domenico Ghirlandaio-352659.jpg 		Annunciation
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence At the height of the Presentation of the Virgin and the Marriage of Mary - above the corner of the chapel and connecting with the rear wall next to the Gothic window - there is the narrow fresco the Annunciation. Again Ghirlandaio has moved the scene of this biblical event to Tuscany and his own era. He was able to find the traditional Renaissance form of a painted window with a view of a landscape in many Florentine palaces. They can still be seen today in Florence, examples being the palaces of the Medici, Ruccelai and Strozzi families. The angel is derived from the Annunciation painted by the young Leonardo da Vinci between 1472 and 1475, now on view in the Galleria degli Uffizi. In contrast to Leonardo's horizontal format, in Ghirlandaio's fresco in the predetermined vertical format his Virgin may be depicted facing the observer in an equally frontal view, but she is standing upright. She is therefore reminiscent of the beautiful picture on the same theme by Lorenzo di Credi, an artist who was also taught by Verrocchio together with Leonardo and Ghirlandaio
   
   
     
Domenico Ghirlandaio Birth of St John the Baptist oil


Domenico Ghirlandaio
Birth of St John the Baptist
Painting ID::  62404
new21/Domenico Ghirlandaio-242648.jpg 		Birth of St John the Baptist
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence The Birth of St John the Baptist and the Zacharias Writes Down the Name of his Son can be found on the second level of the right wall. The scene is described by Vasari. "... the birth of St John, with a beautiful idea that, while Elisabeth is in bed and being visited by her neighbours and a nurse is suckling the child, a woman is eagerly calling the attention of the visitors to the wonder that has come to her mistress in her old age; and lastly there is a woman bringing fruit and wine from the city, in conformity with the Florentine custom. This is very fine". In the Birth of Saint John the Baptist Ghirlandaio once again created a room flooded with light and air. We can well imagine that the palace rooms of Ghirlandaio's patrons being similar to this. In this picture he makes use of contrasting complementary colours by placing the red bedspread in front of the green wall hanging. In front of the wall hanging, a maid dressed in red and green is carrying a tray with carafes of water and wine for the refreshment of the woman in childbed. The golden orange hues of the pilasters and entablatures form a complementary contrast with the light blue of aged Elizabeth and the young maid coming in from at the far right. Such colour schemes help to create the captivating clarity that characterizes so much of Ghirlandaio's work. It is not just the age of Elizabeth and her maid that contrast, but also their respective auras of stillness and movement. Nowadays it is astonishing to think that Savonarola, the severe preacher of repentance, could have taken exception to this superb maid. She corresponds to the nurse on the far left, who is stretching out her arms eagerly. The two figures form an exciting frame for the quiet scene taking place in-between. In the Birth of John the Baptist, Elizabeth is visited by female representatives of the donor family - as is Anne in the birth scene on the opposite wall. The only figure that can be identified is that of the poet Lucrezia Tornabuoni, who was known for being very virtuous. She was the mother of Lorenzo de' Medici and a friend of the humanist Agnolo Poliziano and Luigi Pulci, portrayed in the Sassetti Chapel together with her son. There is actually nothing in this scene to suggest that it is depicting an event from the story of St John - with the sole exception of the severely weather-beaten halo surrounding Elizabeth's head. In this scene from everyday life, Ghirlandaio surpassed even his beautiful Birth of Mary. In addition to the marvelous basket of fruit, he added another two still-lifes to the picture in order to make it appear more home-like and realistic. On the far left two objects, a brass jug and bowl, that we are already familiar with from the fresco the Last Supper in the church of Ognissanti, and from the frescoes in the Santa Fina Chapel. At the top of the bed's headboard, next to the window, there is a symmetrical arrangement of a box, two pomegranates and a vase, reminiscent of both Saint Jerome's study and the frescoes in the Saint Fina Chapel. All these things once again bring Flemish painting to mind, which during this period made widespread use of everyday secular details as accessories. The miniature depicting the birth of Saint John the Baptist in the Turin/Milan Book of Hours is an outstanding example - a superb work that was most probably painted by Jan van Eyck himself, though its attribution is just as disputed as its date. Author: GHIRLANDAIO, Domenico Title: Birth of St John the Baptist , 1451-1500 , Italian Form: painting , religious
   
   
     
Domenico Ghirlandaio Adoration of the Shepherds oil


Domenico Ghirlandaio
Adoration of the Shepherds
Painting ID::  62410
new21/Domenico Ghirlandaio-455374.jpg 		Adoration of the Shepherds
167 x 167 cm Santa Trinit? Florence "He painted in tempera, as a companion to this work, a Nativity of Christ which must excite the wonder of every thinking man, introducing his own portrait and some heads of shepherds, which are considered divine" (Vasari). The Sassetti Chapel is consecrated to the birth of Christ, and as a result much in the chapel is conceived with that event in mind. The altarpiece the Adoration of the Shepherds is the chapel 's key work not only in subject, but also in artistic merit. This composition was so successful that other artists frequently repeated it. Ghirlandaio himself appears in the scene, dressed as a shepherd. He is even allowed to come closer to the Christ Child than the donors, who appear in frescoes to the right and left, praying outside the confines of the panel. The artist, who is leading the shepherds, is kneeling and bringing the miracle of the birth of Christ to the attention of both the shepherds and the observers of the picture. His left hand, with which he is pointing to the Christ Child, is finely drawn and is superbly modelled in three dimensions. With his right hand, his painting hand, he is pointing to his chest, as he does in a later fresco in the Tornabuoni Chapel. As Ghirlandaio is pointing both at the child and the garlands on the Roman marble sarcophagus, it is possible that the gesture is saying: "This holy child was painted for you by me, the garland-maker Ghirlandaio." The classical sarcophagus in the picture is not just a manger for the ox and ass. It also has an iconographical significance indicated by the Latin inscription along its front: Ense cadens. Solymo. Pompei Pului[us] Augur Numen. Ait. Quae me conteg[it] Urna Dabit. [While Fulvi(us), augur of Pompey, was falling by the sword in Jerusalem he said: the urn that covers (conceals) me shall bring forth a god]. This is an ancient prophecy by Fulvius. The animals' manger will serve as a crib for the Christ Child. In his Adoration of the Shepherds, Ghirlandaio combines this reference to the Roman classical age with knowledge of Flemish art and turns them into an integrated whole. An historic event that took place a few years before this work was painted clearly left its mark behind on Ghirlandaio's work. An altarpiece ordered by Tommaso Portinari from Hugo van der Goes in Bruges reached Florence in May 1483. Florentine artists saw van der Goes' Adoration of the Shepherds as a shining comet showing new ways of painting. In Ghirlandaio's altarpiece, the shepherds pushing their way into the picture from the right, with their harsh, life-like features, are drawn directly from this Flemish model. Ghirlandaio's landscape in the background also displays features from north of the Alps
   
   
     
Domenico Ghirlandaio Adoration of the Magi oil


Domenico Ghirlandaio
Adoration of the Magi
Painting ID::  62412
new21/Domenico Ghirlandaio-773597.jpg 		Adoration of the Magi
1488 Tempera on wood Spedale degli Innocenti, Florence Ghirlandaio (second from the right) gazes out at us from this picture, more modestly than in his other self-portrait (like in the Tornabuoni Chapel or in the Sassetti Chapel). It is thought that the churchman dressed in black in front of him is the man who commissioned the panel painting, Francesco di Giovanni Tesori. Above these two portraits, the Slaughter of the Innocents in Bethlehem is shown. The town beyond this, in which we can see monuments such as the Colosseum, Trajan's Column, the Torre del Milizie, and a pyramid, is meant to be reminiscent of Rome
   
   
     
Domenico Ghirlandaio Annunciation oil


Domenico Ghirlandaio
Annunciation
Painting ID::  62999
new21/Domenico Ghirlandaio-743869.jpg 		Annunciation
1489-90 Mosaic Porta della Mandorla, Duomo, Florence In addition to the fresco in the Tornabuoni Chapel, Ghirlandaio created another Annunciation between 1489 and 1490 using the ancient mosaic technique, which he had learnt from Alessio Baldovinetti and which he had been able to employ when restoring a few old mosaics. There is no lectern in this mosaic version of the Annunciation, though the influence of Leonardo's painting is still felt, particularly in the spatial arrangement - a building on the left behind Mary and a view over a wall to a landscape. Above the Porta della Mandorla on Florence Cathedral there still exists this mosaic. Vasari wrote the following comment on it: "Domenico enriched the modern art of working in mosaic infinitely more than any other Tuscan, as his works, though few, amply demonstrate...". Of this mosaic destined for the Porta della Mandorla Domenico only executed the cartoon, which was probably translated into mosaic by his brother David. Artist: GHIRLANDAIO, Domenico Painting Title: Annunciation , 1451-1500 Painting Style: Italian , , religious
   
   
     
Domenico Ghirlandaio Portrait of a Lady oil


Domenico Ghirlandaio
Portrait of a Lady
Painting ID::  69664
new23/Domenico Ghirlandaio-373654.jpg 		Portrait of a Lady
oil on panel painting by Benedetto Ghirlandaio
   
   
     
Domenico Ghirlandaio Calling of the Apostles oil


Domenico Ghirlandaio
Calling of the Apostles
Painting ID::  75220
new24/Domenico Ghirlandaio-648856.jpg 		Calling of the Apostles
Date 1481 Medium fresco Dimensions 349 x 570 cm cyf
   
   
     
Domenico Ghirlandaio The Suicide of Lucrezia oil


Domenico Ghirlandaio
The Suicide of Lucrezia
Painting ID::  78043
new24/Domenico Ghirlandaio-775574.jpg 		The Suicide of Lucrezia
1518(1518) Oil on linden 168 x 74,8 cm cjr
   
   
     
Domenico Ghirlandaio St Barbara Crushing her Infidel Father, with a Kneeling Donor oil


Domenico Ghirlandaio
St Barbara Crushing her Infidel Father, with a Kneeling Donor
Painting ID::  98427
new26/Domenico Ghirlandaio-859485.jpg 		St Barbara Crushing her Infidel Father, with a Kneeling Donor
circa 1473(1473) Medium panel Dimensions Height: 68 cm (26.8 in). Width: 47 cm (18.5 in).
   
   
     
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     Domenico Ghirlandaio
     Italian 1449-1494 Domenico Ghirlandaio Galleries Painter, mosaicist and possibly goldsmith. He was head of one of the most active workshops in late 15th-century Florence. He developed a style of religious narrative that blended the contemporary with the historical in a way that updated the basic tenets of early Renaissance art. Domenico documented material situation

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