Domenico Ghirlandaio


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Ghirlandaio, Domenico

 

(pseudonym of Domenico di Tommaso Bigordi). Born 1449 in Florence; died there Jan. 11, 1494. Italian painter of the early Renaissance; representative of the Florentine school. Son of a jeweler.

Ghirlandaio studied under A. Baldovinetti, and in works of his early period (for example, the frescoes in the church at San Gimignano, c. 1475), was influenced by a number of 15th-century Florentine and Dutch masters. In 1481-82, Ghirlandaio journeyed to Rome, where he did the fresco Christ Calling Saints Peter and Andrew in the Vatican’s Sistine Chapel.

Study of classical art influenced Ghirlandaio’s mature style. His works from the middle of the 1480’s to the 1490’s (including fresco cycles on themes from the lives of St. Francis, Mary, and John the Baptist, in the Sassetti Chapel of the church at Santa Trinitá, 1483-86, and in the church of Santa Maria Novella, 1485-90, in Florence) are typical of his architectonic clarity of composition and of the calm solemnity of treatment of his subjects. Well-defined in spatial structure, elegant and softly restrained in coloring, Ghirlandaio’s frescoes, in which the action unfolds against a background of the squares and buildings of Florence, abound in genre details and offer a rich picture of Florentine life. He included many portraits of his contemporaries in these frescoes, including likenesses of Lorenzo the Magnificent, A. Poliziano, and M. Ficino. Ghirlandaio also did a number of easel paintings, such as the Adoration of the Magi (1485; church of Santa Trinitá, Florence), and portraits, in which the immediacy of observation is combined with both an ability to generalize and a profound humanity (such as in An Old Man and His Grandson at the Louvre, Paris).

REFERENCE

Lauts, J. Domenico Ghirlandajo. Vienna, 1943.

V. E. MARKOVA

References in periodicals archive ?
Domenico Ghirlandaio paints Baby Jesus sitting atop a luxurious pillow in Ghirlandaio's Madonna and Child.
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At the most recent Congress on Medieval Studies, Maria de Prano of UCLA, gave a paper on the celebrated portrait by Domenico Ghirlandaio, "Giovanna degli Albizzi Tomabuoni", Cat.
This is Domenico Ghirlandaio's Adoration of the Shepherds, out of From Flanders to Florence, by Paula Nuttall, London: Yale University Press, 2004, [pounds sterling]40--a magisterial review of the fifteenth-century visual revolution.
Ames-Lewis then turns to Saint Peter Baptising the Neophytes, the drawing for the Brancati chapel attributed to Masaccio, in order to examine the artist's representation of the human figure draped and nude, and how he may have influenced other artists: Maso Finiguerra, Domenico Ghirlandaio, Filippino Lippi, Raphael, and Michelangelo.
The artist Domenico Ghirlandaio's fresco of Saint Jerome from Florence is a quintessential illustration of the "Renaissance" studiolo - a sort of study or library - with its emphasis on learning and its reference to classical antiquity.
When he was thirteen years old, he became the apprentice to the famous painter Domenico Ghirlandaio, who ran one of the largest workshops in Florence.
Eminent artists Domenico Ghirlandaio, Pietro Perugino, and Sandro Botticelli were associated with the Verrocchio workshop.
(7) In 1482, the palace's operai commissioned Domenico Ghirlandaio, Sandro Botticelli, Piero del Pollaiuolo, Pietro Perugino and Biagio Tucci for the decoration of the walls, but in the end only Ghirlandaio decorated the wall allocated to him.
This monograph on the late Quattrocento Florentine painter Domenico Ghirlandaio provides a careful consideration of a prolific artist who was important in his own time.
In 1899, Heinrich WOlfflin and Franz Wickhoff commented on the tantalisingly close similarities of design between the Louvre drapery study and the arrangement of the Virgin's mantle in Domenico Ghirlandaio's high altarpiece for the church of S Giusto alle Mura, now in the Galleria degli Uffizi (Fig.
Eckart Marchand's essay examines the representation of "patrons, their families and allies" in a small group of Quattrocento frescoes by Benozzo Gozzoli and Domenico Ghirlandaio. Marchand suggests that particulars of pose, placement, and costume would have allowed contemporary viewers not only to differentiate between intentional, identifiable portraits and casual bystanders, but also to gather more specific social information.