Ridolfo Ghirlandaio was an Italian Renaissance painter active mainly in Florence. Ridolfo Ghirlandaio was the son of the Italian Renaissance painter Domenico Ghirlandaio, being less than eleven years old when his father died, Ridolfo was brought up by his uncle Davide Ghirlandaio, a painter of moderate talents. Vasari states that Ridolfo trained under Fra Bartolomeo and his works between the dates 1504 and 1508 show a marked influence from Fra Bartolomeo and Raphael, with whom he was friends. From Rome in 1508, Raphael asked Ridolfo to join him, in Florence, he became one of the prominent painters of altarpieces and portraits. He was prominent in the execution of vast scenic canvases for various occasions, such as the wedding of Giuliano de Medici. In his old age Ridolfo was greatly disabled by gout and he appears to have been of a kindly, easy-going character, much regarded by his friends and patrons. Works and details Among his masterpieces, mostly oil-pictures are, Christ on the road to Calvary, an Annunciation in the Abbey of Montoliveto near Florence, Leonardesque in style.
In 1504, he completed the Coronation of the Virgin and he painted a Nativity and a predella in the Oratory of the Bigallo, with five panels, representing the Nativity and other subjects. He painted an Assumption of the Virgin, who bestows her girdle on St Thomas and he painted a Virgin and various saints at San Pietro Maggiore of Pistoia. In 1521, the Pietà, at SantAgostino, Colle di Val dElsa, towards 1526, the Assumption, containing a self-portrait. Ghirlandaio painted a portrait of a young Cosimo I de Medici, in 1543, a series of frescoes in the monastery of Santa Maria degli Angeli. In the National Gallery, London is The Procession to Calvary and his Portrait of a Man with a Pink is in the Dunedin Public Art Gallery. An Adoration by the Shepherds attributed to Ghirlandaio is displayed at the Snite Museum of Art at Notre Dame University in South Bend, a great number of altar-pieces were executed by Ghirlandaio, with the assistance of his favorite pupil, Michele Tosini. Other of his pupils were Mariano Grazidei of Pescia, Carlo Portelli of Loro in the Valdarno, portraits This article incorporates text from a publication now in the public domain, Hugh, ed. article name needed
Benedetto Ghirlandaio was an Italian painter. His brothers Davide Ghirlandaio and Domenico Ghirlandaio were both painters, as was his nephew Ridolfo Ghirlandaio, benedetto died in Florence on 17 July 1497. Thieme and Felix Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, Reprint of 1907 edition, vasari, Giorgio, Le Vite delle più eccellenti pittori, scultori, ed architettori, many editions and translations
Davide Ghirlandaio, known as David Ghirlandaio and as Davide Bigordi, was an Italian painter and mosaicist, active in his native Florence. His brothers Benedetto Ghirlandaio and Domenico Ghirlandaio were both painters, as was his nephew Ridolfo Ghirlandaio, Davide was an assistant to, and a partner of, his brother, the leading painter Domenico. After Domenico’s death, Davide took over the studio and trained Domenico’s son Ridolfo and he was active in the mosaic decoration of the Orvieto Cathedral. Dizionario enciclopedico Bolaffi dei pittori e incisori italiani dallXI al XX secolo, Giulio Bolaffi. Vasari, Giorgio, Le Vite delle più eccellenti pittori, scultori, ed architettori, many editions and translations
A given name is a part of a persons personal name. It identifies a person, and differentiates that person from other members of a group, such as a family or clan. The term given name refers to the fact that the name usually is bestowed upon a person and this contrasts with a surname, which is normally inherited, and shared with other members of the childs immediate family. Given names are used in a familiar and friendly manner in informal situations. In more formal situations the surname is commonly used, unless it is necessary to distinguish between people with the same surname. The idioms on a basis and being on first-name terms allude to the familiarity of addressing another by a given name. The order given name – family name, commonly known as the Western order, is used throughout most European countries and in countries that have cultures predominantly influenced by Western Europe. The order family name – given name, commonly known as the Eastern order, is used in East Asia, as well as in Southern and North-Eastern parts of India.
The order given name - fathers family name - mothers family name is used in Spanish-speaking countries to acknowledge the families of both parents. Today the order can be changed legally in Spain using given name - mothers family name - fathers family name, under the common Western naming convention, people may have one or more forenames. If more than one, there is usually a main forename for everyday use, sometimes however two or more forenames may carry equal weight. There is no particular ordering rule for forenames – often the main forename is at the beginning, a childs given name or names are usually chosen by the parents soon after birth. If a name is not assigned at birth, one may be given at a ceremony, with family. In most jurisdictions, a name at birth is a matter of public record, inscribed on a birth certificate. In western cultures, people normally retain the same name throughout their lives. However, in some cases names may be changed by petitioning a court of law. People may change their names when immigrating from one country to another with different naming conventions, in France, the agency can refer the case to a local judge.
Some jurisdictions, like in Sweden, restrict the spelling of names, parents may choose a name because of its meaning
Domenico Ghirlandaio was an Italian Renaissance painter born in Florence. Ghirlandaio was part of the third generation of the Florentine Renaissance, along with Verrocchio. Many apprentices passed through Ghirlandaios workshop, including the famous Michelangelo, Ghirlandaio was born Domenico di Tommaso di Currado di Doffo Bigordi. Tommaso had two children by his second wife, named Antonia, whom he married in 1464. Domenicos half-sister Alessandra married the painter Bastiano Mainardi in 1494, both Ghirlandaios father and his uncle, were setaiuolo a minuto. Giorgio Vasari reported that Domenico was at first apprenticed to his father, the nickname Il Ghirlandaio came to Domenico from his father, who was famed for creating the metallic garland-like headdresses worn by Florentine women. He was eventually apprenticed to Alesso Baldovinetti to study painting and mosaic, according to the art historian Günter Passavent, he was apprenticed in Florence to Andrea del Verrocchio. He maintained an association with other Florentine painters including Botticelli.
Ghirlandaio excelled in the painting of frescos and it is for his fresco cycles that he is best known, an early commission came to him in the 1470s from the Commune of San Gimignano to decorate the Chapel of Santa Fina in the Collegiate Church of that city. The frescos, executed from 1477 to 1478, depict two miraculous events associated with the death of Saint Fina, in 1480, Ghirlandaio painted St. Jerome in His Study as a companion piece to Saint Augustine in His Study by Botticelli in the Church of Ognissanti, Florence. He painted a life-sized Last Supper in its refectory, from 1481 to 1485, he was employed on frescoes at the Palazzo Vecchio, painting among other works an Apotheosis of St. Ghirlandaio painted the Vocation of the Apostles. He painted the now lost Resurrection of Christ, the Crossing of the Red Sea has been attributed to him, but is consistent with the style of Cosimo Roselli who was part of the commission. Ghirlandaio is known to have created works in Rome, now lost. The first of these paintings contains portraits of Lorenzo de Medici and Lorenzos children with their tutor, the Resuscitation shows the painters own likeness.
In 1483, there arrived in Florence a masterpiece of the Flemish painter Hugo van der Goes, now known as the Portinari Altarpiece, it was an Adoration of the Shepherds, commissioned by Tommaso Portinari, an employee of the Medici Bank. The painting was in oil paint, not the tempera employed in Florence, the aspect of the painting that had a profound effect on Ghirlandaio was the naturalism with which the shepherds were depicted. Ghirlandaio painted the altarpiece of the Sassetti chapel, an Adoration of the Shepherds and it is in this painting that he particularly shows his indebtedness to the Portinari Altarpiece. The shepherds, among whom is a portrait of the artist himself, are portrayed with a realism that was an advance in Florentine painting at that time, the altarpiece is still in position in Santa Trinita, surrounded by the frescos of which it was the centrepiece