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Garofalo
1481-1559 Italian Garofalo Gallery Italian painter. Active mainly in Ferrara and the district around the Po delta, he was one of the most outstanding figures in Emilian classicism during the first half of the 16th century. In 1497 Garofalo father paid Boccaccio Boccaccino to teach his son the rudiments of painting. Garofalo first works were directly influenced by the Cremonese painter, to whom they were formerly even attributed. They consist of a series of small paintings depicting the Virgin and Child. The example in the Ca d Oro in Venice must have been Garofalo first painting and reveals not only the lessons learned from Boccaccino, but also signs of the influence of Domenico Panetti (c. 1460-before 1513), traditionally recorded as his first master. Another Virgin and Child (Assisi, Perkins priv. col.) shows signs of the early influence of Lorenzo Costa the elder, while the example in the Nationalmuseum, Copenhagen, shows a similarity with the early works of his contemporary, Lodovico Mazzolino. A particularly important project in Ferrara during the earliest years of the 16th century, involving numerous highly skilled artists, was the fresco decoration of the oratory of the Concezione. The frescoes (Ferrara, Pin. N.) represent a significant development in the city art. Garofalo hand has been identified in the Presentation in the Temple, in which he reveals a familiarity not only with local art, but also with the high points of Bolognese classicism, whose greatest exponents were Francesco Francia and Lorenzo Costa the elder. Around 1505, Garofalo works show a close familiarity with artistic developments in Bologna, in particular the mature style of Costa and the decoration in 1505-6, by Francesco Francia, Costa, Aspertini and others, of the oratory of S Cecilia in S Giacomo Maggiore. Garofalo Virgin Enthroned between SS Martin and Rosalia (Florence, Uffizi), created for Codigoro Cathedral, should be seen within this context, whereas the small altarpiece for the Arcivescovado, Ferrara, although executed at the same time, shows early, if faint, signs of the influence of Venetian painting of the period.

 

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Garofalo The Annunciation dg oil painting

Painting ID::  6789

X 
 

Garofalo
The Annunciation dg
1550 Tempera on wood Pinacoteca di Brera, Milan
   
   
     

 

 

Garofalo Ascension of Christ sdg oil painting

Painting ID::  6790

X 
 

Garofalo
Ascension of Christ sdg
1510-20 Oil on panel, 314 x 204,5 Galleria Nazionale d'Arte Antica, Rome
   
   
     

 

 

Garofalo Adoration of the Kings ff oil painting

Painting ID::  6791

X 
 

Garofalo
Adoration of the Kings ff
Oil on wood Rijksmuseum, Amsterdam
   
   
     

 

 

Garofalo The Bones of St. John the Baptist dfg oil painting

Painting ID::  6792

X 
 

Garofalo
The Bones of St. John the Baptist dfg
c. 1485 Oil on panel, 172 x 139 cm Kunsthistorisches Museum, Vienna
   
   
     

 

 

Garofalo The Holy Kinship sdg oil painting

Painting ID::  6793

X 
 

Garofalo
The Holy Kinship sdg
1475-80 Oil on wood, 137 x 103 cm Rijksmuseum, Amsterdam
   
   
     

 

 

Garofalo The Holy Kinship (detail) sdg oil painting

Painting ID::  6794

X 
 

Garofalo
The Holy Kinship (detail) sdg
1475-80 Oil on wood Rijksmuseum, Amsterdam
   
   
     

 

 

Garofalo Lamentation over the Dead Christ dfg oil painting

Painting ID::  6795

X 
 

Garofalo
Lamentation over the Dead Christ dfg
1485-90 Wood, 175 x 139 cm Kunsthistorisches Museum, Vienna
   
   
     

 

 

Garofalo The Raising of Lazarus dg oil painting

Painting ID::  6796

X 
 

Garofalo
The Raising of Lazarus dg
1480's Oil and tempera on panel Mus??e du Louvre, Paris
   
   
     

 

 

Garofalo Adoration of the Magi (detail) sdg oil painting

Painting ID::  6797

X 
 

Garofalo
Adoration of the Magi (detail) sdg
1480-85 Panel National Gallery, Prague
   
   
     

 

 

Garofalo John the Baptist in the Wilderness fg oil painting

Painting ID::  6798

X 
 

Garofalo
John the Baptist in the Wilderness fg
1490-95 Panel, 42 x 28 cm Staatliche Museen, Berlin
   
   
     

 

 

Garofalo Vir Dolorum dfg oil painting

Painting ID::  6799

X 
 

Garofalo
Vir Dolorum dfg
c. 1495 Panel Aartsbisschoppelijke Musea, Utrecht
   
   
     

 

 

Garofalo Virgin and Child sdgg oil painting

Painting ID::  6800

X 
 

Garofalo
Virgin and Child sdgg
1480s Tempera on panel, 26,8 x 20,5 cm Museum Boymans-van Beuningen, Rotterdam
   
   
     

 

 

Garofalo THe Vision of Saint Augustine oil painting

Painting ID::  43019

X 
 

Garofalo
THe Vision of Saint Augustine
mk170 circa 1520 Oil on wood 64.5x81.9cm
   
   
     

 

 

Garofalo A Pagan Sacrifice oil painting

Painting ID::  43020

X 
 

Garofalo
A Pagan Sacrifice
mk170 dated 1526 Oil on canvas 128.3x185.4cm
   
   
     

 

 

Garofalo An Allegory of Love oil painting

Painting ID::  43021

X 
 

Garofalo
An Allegory of Love
mk170 1530-1535 Oil on canvas 127x177.8cm
   
   
     

 

 

Garofalo The Annuciation oil painting

Painting ID::  51692

X 
 

Garofalo
The Annuciation
nn09 Oil on wood 55.2x76cm
   
   
     

 

 

Garofalo The Annunciation oil painting

Painting ID::  51693

X 
 

Garofalo
The Annunciation
nn09 1550 Tempera on wood 250x165cm
   
   
     

 

 

Garofalo Benvenuto Tisi oil painting

Painting ID::  83201

X 
 

Garofalo
Benvenuto Tisi
oil on canvas, height 53 cm. ; width 40 cm. Date c.1550 cyf
   
   
     

 

 

Garofalo The Annunciation oil painting

Painting ID::  84252

X 
 

Garofalo
The Annunciation
1528(1528) Medium Oil on canvas cyf
   
   
     

 

 

Garofalo Christ and the Adulteress oil painting

Painting ID::  92557

X 
 

Garofalo
Christ and the Adulteress
Oil on panel, 55 x 44 cm TTD
   
   
     

 

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Garofalo
1481-1559 Italian Garofalo Gallery Italian painter. Active mainly in Ferrara and the district around the Po delta, he was one of the most outstanding figures in Emilian classicism during the first half of the 16th century. In 1497 Garofalo father paid Boccaccio Boccaccino to teach his son the rudiments of painting. Garofalo first works were directly influenced by the Cremonese painter, to whom they were formerly even attributed. They consist of a series of small paintings depicting the Virgin and Child. The example in the Ca d Oro in Venice must have been Garofalo first painting and reveals not only the lessons learned from Boccaccino, but also signs of the influence of Domenico Panetti (c. 1460-before 1513), traditionally recorded as his first master. Another Virgin and Child (Assisi, Perkins priv. col.) shows signs of the early influence of Lorenzo Costa the elder, while the example in the Nationalmuseum, Copenhagen, shows a similarity with the early works of his contemporary, Lodovico Mazzolino. A particularly important project in Ferrara during the earliest years of the 16th century, involving numerous highly skilled artists, was the fresco decoration of the oratory of the Concezione. The frescoes (Ferrara, Pin. N.) represent a significant development in the city art. Garofalo hand has been identified in the Presentation in the Temple, in which he reveals a familiarity not only with local art, but also with the high points of Bolognese classicism, whose greatest exponents were Francesco Francia and Lorenzo Costa the elder. Around 1505, Garofalo works show a close familiarity with artistic developments in Bologna, in particular the mature style of Costa and the decoration in 1505-6, by Francesco Francia, Costa, Aspertini and others, of the oratory of S Cecilia in S Giacomo Maggiore. Garofalo Virgin Enthroned between SS Martin and Rosalia (Florence, Uffizi), created for Codigoro Cathedral, should be seen within this context, whereas the small altarpiece for the Arcivescovado, Ferrara, although executed at the same time, shows early, if faint, signs of the influence of Venetian painting of the period.