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.  Related Paintings of GAROFALO :. | Adoration of the Magi (detail) sdg | The Bones of St. John the Baptist dfg | Adoration of the Kings ff | The Holy Kinship sdg | Ascension of Christ sdg |
Related Artists:
Leon Bonnat
French Academic Painter, 1833-1922,was a French painter. He was born in Bayonne, but from 1846 to 1853 he lived in Madrid, Spain, where his father owned a bookshop. In Madrid he received his artistic training under Madrazo. He later worked in Paris, where he became known as a leading portraitist. His many portraits show the influence of Velazquez and the Spanish realists. He won a medal of honor at Paris in 1869, where he became one of the leading artists of his day. Bonnat went on to become a professor at the Ecole des Beaux Arts in 1882. In May 1905 he succeeded Paul Dubois as director. His vivid portrait-painting is his most characteristic work, but his subject pictures, such as the Martyrdom of St Denis in the Pantheon, are also famous. Some of Bonnat's more notable students include: Gustave Caillebotte, Suzor-Cote, Georges Braque,Raoul Dufy, Marius Vasselon, Fred Barnard,
Marees, Hans von
German Painter, 1837-1887 was a German painter. He mainly painted country scenes in a realistic style. Von Mar??es was born in Elberfeld, Germany. At age 16, he was sent to the Berlin Academy. In 1857, he moved to Munich. In 1869, he visited France, the Netherlands and Spain. He served in the Franco-Prussian War (1870?C71) and then lived in Berlin and Dresden for a while. In 1873, he decorated the library walls of the newly built Naples Zoological Institute in Italy.
Eric Forbes-Robertson
(1865-1935). a figure and landscape painter a figure and landscape painter.was a Scottish painter of landscapes, flowers, and foliage, with children. He was a cousin of James Hornell. He was born in Australia, of Scottish parents, and he was brought up and lived practically all his life in Scotland, at Kirkcudbright. He studied for three years at the art school at Edinburgh, and for two years at Antwerp under Professor Verlat. Returning from Antwerp in 1885, he met George Henry and associated himself with the Glasgow School. Hornel and Henry collaborated upon "The Druids Bringing In The Mistletoe" (1890), a procession of priests bringing in the sacred mistletoe, gorgeous with polychrome and gold. The two worked side by side to achieve decorative splendor of color, Hornel boldly and freely employing texture effects produced by loading and scraping, roughening, smoothing, and staining. In 1893-94 the two artists spent a year and a half in Japan, where Hornel learned much about decorative design and spacing. Towards the close of the nineties his colors, while preserving their glow and richness, became more refined and more atmospheric, and his drawing more naturalistic, combining sensuous appeal with emotional and poetic significance. In 1901 he declined election to the Royal Scottish Academy. In 1901 he acquired Broughton House, a townhouse and garden in Kirkcudbright, which was his main residence for the rest of his life.