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 :. | The Holy Kinship sdg | THe Vision of Saint Augustine | The Annunciation dg | The Raising of Lazarus dg | Apotheosis of Hercules |
Related Artists:
CRIVELLI, Vittorio
Italian painter, Venetian school (b. ca. 1440, Venezia, d. 1501/2, Venezia)
BEYEREN, Abraham van
Dutch Baroque Era Painter, ca.1620-1690 Dutch painter. He painted seascapes as well as fruit, flower, fish, game and banquet still-lifes. He almost always signed these works with his monogram AVB, but he dated only a few. This, together with the fact that he painted diverse subjects simultaneously and his style changed little, makes it difficult to establish a chronology. He became a master in The Hague in 1640 and was related by marriage to the fish painter Pieter de Putter (before 1600-59). Van Beyeren lived in Delft from 1657 to 1661 and was again in The Hague between 1663 and 1669.
John MacWhirter
(27 March 1839 Slateford, Water of Leith - 28 January 1911 London) was a Scottish landscape painter. John was the third of four children. He attended a school in Colinton, and after his father's death was apprenticed to Oliver & Boyd, booksellers in Edinburgh. He stayed there for only a few months and then in 1851 enrolled at the Trustees Academy under Robert Scott Lauder and John Ballantyne (1815-97). He spent long periods sketching and studying nature outdoors. His first painting to be exhibited at the Royal Scottish Academy at age 14, was 'Old Cottage at Braid'. In 1880, he was made an Honorary Member of the Royal Scottish Academy. Exploring and painting abroad he visited Italy, Sicily, Switzerland, Austria, Turkey, Norway and the U.S.A. - the Alps being a great inspiration. He moved to London in 1867 and on 4 May 1893 was elected a Royal Academician. MacWhirter specialised in romantic landscapes with a great fondness for trees, spending much time in the hilly countryside of Perthshire. Initially, under the influence of John Everett Millais, he experimented with the detailed images of the Pre-Raphaelites, but later adopted a more sweeping style. With John Pettie he illustrated The Postman's Bag (Strahan, 1862), and Wordsworth's Poetry for the Young (Strahan, 1863).