Oil On Canvas, Real Flavor of Old Masters

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Italian 1449-1494 Domenico Ghirlandaio Galleries Painter, mosaicist and possibly goldsmith. He was head of one of the most active workshops in late 15th-century Florence. He developed a style of religious narrative that blended the contemporary with the historical in a way that updated the basic tenets of early Renaissance art. Domenico documented material situation

5 Related Artists to Domenico Ghirlandaio::.
| Pieter Gysels | Christian Wilhelm Ernst Dietrich | Richard Redgrave,RA | David Dalhoff Neal | Alfred Ordway |


Domenico Ghirlandaio Its image oil painting artist


Domenico Ghirlandaio Its image oil painting artist

Its image
Painting ID::  58156
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the mk261 Florence, the Ukrainian Fiji art museum, in 1890 numbered 602.

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Domenico Ghirlandaio An Old Man and His Grandson oil painting artist


Domenico Ghirlandaio An Old Man and His Grandson oil painting artist

An Old Man and His Grandson
Painting ID::  59052
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An Old Man and His Grandson (ca. 1490) Tempera on wood, 62 x 46 cm. Louvre, Paris

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Domenico Ghirlandaio Portrait of a Young Woman oil painting artist


Domenico Ghirlandaio Portrait of a Young Woman oil painting artist

Portrait of a Young Woman
Painting ID::  59053
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Portrait of a Young Woman

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Domenico Ghirlandaio Supposed self portrait in Adoration of the Magi oil painting artist


Domenico Ghirlandaio Supposed self portrait in Adoration of the Magi oil painting artist

Supposed self portrait in Adoration of the Magi
Painting ID::  59054
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Supposed self-portrait in Adoration of the Magi, 1488 (Ospedale degli Innocenti, Florence

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Domenico Ghirlandaio Study oil painting artist


Domenico Ghirlandaio Study oil painting artist

Study
Painting ID::  62402
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220 x 170 mm Galleria degli Uffizi, Florence The picture shows a study to the fresco of the Birth of Mary executed in the Cappella Tornabuoni of the Santa Maria Novella in Florence. The only figure in the fresco who conveys any sense of movement is the servant pouring water into a brass basin for the child to bathe in. Ghirlandaio prepared for the painting by drawing this detailed individual study. The cloth fluttering behind her is lower in the fresco than here, in order not to obstruct our view of Anne. The sleeves were also altered at her elbows. The cross-hatching and the strong contours so typical of Ghirlandaio's style of drawing are clearly recognizable

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