Leonardo da vinci
Leonardo da vinci's Oil Paintings
Leonardo da vinci Museum
April 15, 1452 – May 2, 1519. Italian painter.

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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 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
1325 The Annunciation  55 Garofalo The Annunciation 55 1550 Pinacoteca di Brera, Milan
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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