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Updated: June 14, 2025
Among other artists who entered the field of mosaic, were Baldovinetti and Domenico Ghirlandajo, the painter who originated the motto: "The only painting for eternity is mosaic." In the sixteenth century the art of mosaic ceased to observe due limitations. The ideal was to reproduce exactly in mosaic such pictures as were prepared by Titian, Pordenone, Raphael, and other realistic painters.
"It will go down easier, I say, if you'll just work in some portraits of our Nine Worthies. Ghirlandajo did that racket, for instance; so did Holbein. So did plenty of others. Wouldn't Andrew P. Hill's chin-beard come in great on Fortitude? And if you've got any gratitude in your composition, Roscoe Orlando ought to go in as Prosperity.
The wide staircase, of carved oak, is bordered by a bronze balustrade, made by Ghirlandajo, and brought from Florence by Sommervieux, the great dealer in curiosities. Baron Rothschild would consent to give only a hundred thousand francs for it. Madame Desvarennes bought it.
Domenico Ghirlandajo deserves this place of honour not because he had the keenest intuitions, the deepest thought, the strongest passion, the subtlest fancy, the loftiest imagination for in all these points he was excelled by some one or other of his contemporaries or predecessors but because his intellect was the most comprehensive and his mastery of art the most complete.
Yonder in the Strozzi Chapel is some of the very best work of an old painter called Orcagna, while here in the choir are notable frescoes by Ghirlandajo; but now I shall take you down these steps between the two into the cloister and there we will talk of Giotto.
In order to diminish the extraordinary impression produced by this picture, Ghirlandajo went about saying that it came out of his own workshop, as though he had some part in the performance.
This work brought Mariotto praise and honour among craftsmen, but by no means as much profit as he hoped to gain from his patrons in return for his labours, since a dispute arose between him and those who had commissioned him to paint it. But Pietro Perugino, then an old man, Ridolfo Ghirlandajo, and Francesco Granacci valued it, and settled the price of the work by common consent.
His art is the art of the understanding only; and to this the masters of the golden age added radiance, sublimity, grace, passion qualities of the imagination beyond the scope of men like Ghirlandajo.
Ghirlandajo was fitted to be their painter; himself a generous-spirited artist, in the exuberance of life and power, he wished that his fellow-citizens would give him all the walls of the city to cover with frescoes. He was content with the specified sum for his painting, desiring more the approbation of his employers than additional crowns.
After Giuliano had studied design for some time in the above-named garden, he worked, together with Buonarroti and Granacci, under Domenico Ghirlandajo, at the time when he was painting the chapel in S. Maria Novella.
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