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Here are all the paintings of Garofalo 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 43020 |
 |
A Pagan Sacrifice |
mk170
dated 1526
Oil on canvas
128.3x185.4cm
|
| 6791 |
 |
Adoration of the Kings ff |
Oil on wood
Rijksmuseum, Amsterdam |
| 6797 |
 |
Adoration of the Magi (detail) sdg |
1480-85
Panel
National Gallery, Prague |
| 43021 |
 |
An Allegory of Love |
mk170
1530-1535
Oil on canvas
127x177.8cm
|
| 92561 |
 |
Apotheosis of Hercules |
1539
Oil on canvas
TTD |
| 6790 |
 |
Ascension of Christ sdg |
1510-20
Oil on panel, 314 x 204,5
Galleria Nazionale d'Arte Antica, Rome |
| 83201 |
 |
Benvenuto Tisi |
oil on canvas, height 53 cm. ; width 40 cm.
Date c.1550
cyf |
| 92557 |
 |
Christ and the Adulteress |
Oil on panel, 55 x 44 cm
TTD |
| 92560 |
 |
Entombment |
1520s
Oil on canvas, 53 x 76 cm
TTD |
| 6798 |
 |
John the Baptist in the Wilderness fg |
1490-95
Panel, 42 x 28 cm
Staatliche Museen, Berlin |
| 6795 |
 |
Lamentation over the Dead Christ dfg |
1485-90
Wood, 175 x 139 cm
Kunsthistorisches Museum, Vienna |
| 51692 |
 |
The Annuciation |
nn09
Oil on wood
55.2x76cm
|
| 51693 |
 |
The Annunciation |
nn09
1550
Tempera on wood
250x165cm
|
| 84252 |
 |
The Annunciation |
1528(1528)
Medium Oil on canvas
cyf |
| 92558 |
 |
The Annunciation |
1550
Tempera on wood
TTD |
| 1325 |
 |
The Annunciation 55 |
1550
Pinacoteca di Brera, Milan |
| 6789 |
 |
The Annunciation dg |
1550
Tempera on wood
Pinacoteca di Brera, Milan |
| 6792 |
 |
The Bones of St. John the Baptist dfg |
c. 1485
Oil on panel, 172 x 139 cm
Kunsthistorisches Museum, Vienna |
| 92559 |
 |
The Circumcision |
1519
Oil on wood, 37 x 50 cm
TTD |
| 6794 |
 |
The Holy Kinship (detail) sdg |
1475-80
Oil on wood
Rijksmuseum, Amsterdam |
| 6793 |
 |
The Holy Kinship sdg |
1475-80
Oil on wood, 137 x 103 cm
Rijksmuseum, Amsterdam |
| 6796 |
 |
The Raising of Lazarus dg |
1480's
Oil and tempera on panel
Mus??e du Louvre, Paris |
| 43019 |
 |
THe Vision of Saint Augustine |
mk170
circa 1520
Oil on wood
64.5x81.9cm
|
| 6799 |
 |
Vir Dolorum dfg |
c. 1495
Panel
Aartsbisschoppelijke Musea, Utrecht |
| 6800 |
 |
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) |
1530-32
Oil on wood
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.
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