Oil On Canvas, Real Flavor of Old Masters

All GAROFALO 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
43020  
A Pagan Sacrifice, GAROFALO
  		 A Pagan Sacrifice   mk170 dated 1526 Oil on canvas 128.3x185.4cm
6791  
Adoration of the Kings ff, GAROFALO
  		 Adoration of the Kings ff   Oil on wood Rijksmuseum, Amsterdam
6797  
Adoration of the Magi (detail) sdg, GAROFALO
  		 Adoration of the Magi (detail) sdg   1480-85 Panel National Gallery, Prague
43021  
An Allegory of Love, GAROFALO
  		 An Allegory of Love   mk170 1530-1535 Oil on canvas 127x177.8cm
92561  
Apotheosis of Hercules, GAROFALO
  		 Apotheosis of Hercules   1539 Oil on canvas TTD
6790  
Ascension of Christ sdg, GAROFALO
  		 Ascension of Christ sdg   1510-20 Oil on panel, 314 x 204,5 Galleria Nazionale d'Arte Antica, Rome
83201  
Benvenuto Tisi, GAROFALO
  		 Benvenuto Tisi   oil on canvas, height 53 cm. ; width 40 cm. Date c.1550 cyf
92557  
Christ and the Adulteress, GAROFALO
  		 Christ and the Adulteress   Oil on panel, 55 x 44 cm TTD
92560  
Entombment, GAROFALO
  		 Entombment   1520s Oil on canvas, 53 x 76 cm TTD
6798  
John the Baptist in the Wilderness fg, GAROFALO
  		 John the Baptist in the Wilderness fg   1490-95 Panel, 42 x 28 cm Staatliche Museen, Berlin
6795  
Lamentation over the Dead Christ dfg, GAROFALO
  		 Lamentation over the Dead Christ dfg   1485-90 Wood, 175 x 139 cm Kunsthistorisches Museum, Vienna
51692  
The Annuciation, GAROFALO
  		 The Annuciation   nn09 Oil on wood 55.2x76cm
51693  
The Annunciation, GAROFALO
  		 The Annunciation   nn09 1550 Tempera on wood 250x165cm
84252  
The Annunciation, GAROFALO
  		 The Annunciation   1528(1528) Medium Oil on canvas cyf
92558  
The Annunciation, GAROFALO
  		 The Annunciation   1550 Tempera on wood TTD
6789  
The Annunciation dg, GAROFALO
  		 The Annunciation dg   1550 Tempera on wood Pinacoteca di Brera, Milan
6792  
The Bones of St. John the Baptist dfg, GAROFALO
  		 The Bones of St. John the Baptist dfg   c. 1485 Oil on panel, 172 x 139 cm Kunsthistorisches Museum, Vienna
92559  
The Circumcision, GAROFALO
  		 The Circumcision   1519 Oil on wood, 37 x 50 cm TTD
6794  
The Holy Kinship (detail) sdg, GAROFALO
  		 The Holy Kinship (detail) sdg   1475-80 Oil on wood Rijksmuseum, Amsterdam
6793  
The Holy Kinship sdg, GAROFALO
  		 The Holy Kinship sdg   1475-80 Oil on wood, 137 x 103 cm Rijksmuseum, Amsterdam
6796  
The Raising of Lazarus dg, GAROFALO
  		 The Raising of Lazarus dg   1480's Oil and tempera on panel Mus??e du Louvre, Paris
43019  
THe Vision of Saint Augustine, GAROFALO
  		 THe Vision of Saint Augustine   mk170 circa 1520 Oil on wood 64.5x81.9cm
6799  
Vir Dolorum dfg, GAROFALO
  		 Vir Dolorum dfg   c. 1495 Panel Aartsbisschoppelijke Musea, Utrecht
6800  
Virgin and Child sdgg, GAROFALO
  		 Virgin and Child sdgg   1480s Tempera on panel, 26,8 x 20,5 cm Museum Boymans-van Beuningen, Rotterdam
92562  
Virgin and Child with Saints (detail), GAROFALO
  		 Virgin and Child with Saints (detail)   1530-32 Oil on wood TTD
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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