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Art in Tuscany | Domenice Ghirlandaio, Last Supper frescoes

[1] Domenico Ghirlandaio, original name Domenico di Tommaso Bigordi (born 1449, Florence [Italy]—died Jan. 11, 1494, Florence), early Renaissance painter of the Florentine school noted for his detailed narrative frescoes, which include many portraits of leading citizens in contemporary dress.

Domenico Ghirlandaio was the son of a goldsmith, and his nickname, “Ghirlandaio,” was derived from his father’s skill in making garlands for the hair of Florentine women. Domenico probably began as an apprentice in his father’s shop, but almost nothing is known about his training as a painter or the beginnings of his career. The earliest works attributed to him, dating from the early 1470s, show strong influences from the frescoes of Andrea del Castagno, who died when Ghirlandaio was about eight years old. The Italian painter, architect, and biographer Giorgio Vasari recorded in his Lives (1550) that Ghirlandaio was a pupil of the Florentine painter Alesso Baldovinetti, even though Baldovinetti was only four or five years older than Ghirlandaio himself. Ghirlandaio preferred to work in fresco on large wall surfaces, but he used smaller-scale paintings executed on wood panels for the altarpieces of the chapels that housed his fresco cycles. He never experimented with oil painting, although most Florentine painters of his generation began to use it exclusively in the last quarter of the 15th century.

Domenico Ghirlandaio, original name Domenico di Tommaso Bigordi (born 1449, Florence [Italy]—died Jan. 11, 1494, Florence), early Renaissance painter of the Florentine school noted for his detailed narrative frescoes, which include many portraits of leading citizens in contemporary dress.

Domenico was the son of a goldsmith, and his nickname, “Ghirlandaio,” was derived from his father’s skill in making garlands for the hair of Florentine women. Domenico probably began as an apprentice in his father’s shop, but almost nothing is known about his training as a painter or the beginnings of his career. The earliest works attributed to him, dating from the early 1470s, show strong influences from the frescoes of Andrea del Castagno, who died when Ghirlandaio was about eight years old. The Italian painter, architect, and biographer Giorgio Vasari recorded in his Lives (1550) that Ghirlandaio was a pupil of the Florentine painter Alesso Baldovinetti, even though Baldovinetti was only four or five years older than Ghirlandaio himself. Ghirlandaio preferred to work in fresco on large wall surfaces, but he used smaller-scale paintings executed on wood panels for the altarpieces of the chapels that housed his fresco cycles. He never experimented with oil painting, although most Florentine painters of his generation began to use it exclusively in the last quarter of the 15th century.

In 1481–82 Ghirlandaio received an important commission in the Vatican for a fresco, representing the calling of the first Apostles, Peter and Andrew, in the Sistine Chapel. Its style is reminiscent of the frescoes by Masaccio of about 1427, which had been the great innovating works of the early 15th century in Florence. The principal feature of this fresco is the group of portraits of the Florentine colony in Rome, who are represented as witnesses of the biblical event. It has been suggested that the inclusion of these Florentines in a fresco painted for the Vatican had political significance, since the Florentine government had recently accused Pope Sixtus IV of complicity in the Pazzi conspiracy. The Pazzi, a powerful Tuscan banking family, had attempted to murder the leading members of the Florentine Medici family, Giuliano and Lorenzo de’Medici (1478). Giuliano had been killed in the attempt while Lorenzo escaped with few wounds.

Ghirlandaio must have used his stay in Rome to study Roman antiquities at first hand, for many details of triumphal arches, ancient sarcophagi, and similar antique elements occur in his works throughout the rest of his career. A sketchbook filled with drawings of such antiquities (now in El Escorial, near Madrid) seems to be the work of a member of his shop.
Late in his short life, Ghirlandaio and his assistants, including his brothers Davide and Benedetto and his brother-in-law Sebastiano Mainardi, produced two major fresco cycles. The earlier was executed for the Sassetti Chapel in Santa Trinita in Florence. Commissioned by Francesco Sassetti, an agent of the Medici bank, they were painted between about 1482 and 1485. The six main frescoes represent scenes from the life of St. Francis of Assisi, Sassetti’s patron saint. Once more, the frescoes contain many details of the buildings and customs of the period—for example, the Piazza della Signoria with the Loggia dei Lanzi—and, in particular, there are numerous portraits of members of the Sassetti family shown together with some of the leading members of the Medici family, and of leading members of the Florentine mercantile aristocracy. The altarpiece, dated 1485, contains further evidence of Ghirlandaio’s interest in Classical antiquity, for it shows the Adoration of the Shepherds with a Roman triumphal arch in the background and a Roman sarcophagus in place of the traditional manger. This painting in tempera has several direct references to contemporary Flemish paintings, especially the enormous Portinari Altarpiece painted in oil by Hugo van der Goes, which had been commissioned in Flanders by Tommaso Portinari, another agent of the Medici bank, and which arrived in Florence in the late 1470s.

Ghirlandaio’s last and greatest fresco cycle was painted for another Medici banker, Giovanni Tornabuoni, and represents scenes from the life of the Virgin and of St. John the Baptist, the patron saint of Florence. Ghirlandaio signed the contract on Sept. 1, 1485, for these large frescoes on the walls of the choir of Santa Maria Novella in Florence. Ghirlandaio and his assistants, among whom was probably the young Michelangelo, completed the frescoes by about 1490. The front panel of the altarpiece was completed by assistants according to Ghirlandaio’s design soon after his death in 1494. Even more than in the Sassetti Chapel, these narrative scenes contain a wealth of detail showing patrician interiors and contemporary dress; as a result they are one of the most important sources for current knowledge of the furnishings of a late 15th-century Florentine palace.
The frescoes in Santa Maria Novella are overcrowded with detail, so that the compositions fail to make their full impact. Some of Ghirlandaio’s smaller panel paintings, particularly the portrait of Giovanna Tornabuoni (1488), have a simplicity that makes them far more striking than the frescoes of Santa Maria Novella. The portrait representing an old man with his grandchild (c. 1480–90) is perhaps Ghirlandaio’s finest painting, notable for its tenderness and humanity, as well as a simplicity and directness of handling.
Ghirlandaio was considered by his contemporaries to be one of the best painters of his generation. In the 19th century, however, the degree of realism in his work was decried by critics, who appreciated him only for his decorative qualities. His work has been reevaluated since the 1960s, and he is now regarded as one of the most eloquent and elegant narrators of Florentine society at the end of the 15th century.

Ghirlandaio’s son, Ridolfo, was also a noted painter and a friend of Vasari. Among his best-known works are a pair representing scenes from the life of St. Zenobius (1517).
[From Domenico Ghirlandaio (Italian painter) -- Britannica Online Encyclopedia]

[2] Alberti mentions in On Painting the early fifteenth-century custom of introducing portraits of well-known and worthy citizens in religious narratives. This tradition continues in the family patronage of public religious commissions of the late fifteenth century. It also gives scope for female portraits to be included in a very important genre, that of collective civic portraiture. Perhaps the best example of a religious commission which stresses the significance of public display in such a context, while at the same time illustrating the difference of men's and women's ideal roles and behaviour in late fifteenth-century Florentine society, is provided by [a] series for frescoes by Ghirlandaio and his workshop. The decoration of the apse (cappella maggiore) of the Dominican church /p. 65: of Santa Maria Novella in Florence, commissioned by Giovanni Tornabuoni in 1485, was carried out between 1486 and 1490. This was the largest fresco commission in Florence in the last decades of the fifteenth century, for one of the most important churches of the city.
Giovanni Tornabuoni was one of the wealthiest and most influential men in Florence, tied to the Medici by links forged by marriage, business and political interests. His sister Lucrezia was the wife of Piero de Medici and the mother of Lorenzo the Magnificent. In the same year as his sister's marriage, 1444, Giovanni had first entered the Medici bank. In 1465 he became the director and partner of the Medici bank in Rome, and eventually treasurer and financial adviser to Pope Sixtus IV...