Domenico Ghirlandaio

Also found in: Dictionary, Wikipedia.

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).


Lauts, J. Domenico Ghirlandajo. Vienna, 1943.


References in periodicals archive ?
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.
Cadogan, Domenico Ghirlandaio, Artist and Artisan, New Haven and London, pp.
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.
The catalogues for Domenico Ghirlandaio and his brother Davide are scrupulously prepared, and a short study of Davide's drawings is included.
In the late 1470s to 1480s, Domenico Ghirlandaio was one of the most frequent users of this traditional Florentine drawing technique, especially in his drapery studies, which he drew either with pen and brown ink, or with the tip of the brush and brown wash.
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.
The harmonious configuration of order and social structure which the occasional public appearance of a citizen's wife reveals, reminiscent of the paintings of Domenico Ghirlandaio in Santa Maria Novella showing contemporary Florentine women serenely observing their beholders, is as far from Ovid's ero tically-charged theater as can be imagined.
Vasari, of course, depended upon the vague recollections of older painters concerning the "good old days," such as Ridolfo, the son of Domenico Ghirlandaio, with whom Michelangelo was definitely placed (indeed, there is no myth here, although surrounding circumstances may have been embellished).
3) The frescoes of Domenico Ghirlandaio commissioned by Lorenzo de' Medici's uncle, Giovanni Tornabuoni, portrayed various scenes from the life of John the Baptist, scenes that Bernard Berenson called "tableaux vivants.