生活和工作

早期

是基尔兰达约出生Domenico di托马索·迪Currado di Doffo Bigordi。他是六个孩子中的老大出生在他的第一任妻子托马索·Bigordi安东尼娅di ser保罗Paoli;其中,只有多梅尼科和他的兄弟们和合作者大卫。和Benedetto是基尔兰达约幸存下来的童年。托马索有两个更多的孩子由他的第二任妻子,也叫安东尼娅,他于1464年结婚。多梅尼科的妹妹亚历山德(b.1475)嫁给了画家Bastiano曼拉德在1494年。 父亲的职业托马索Bigordi 1451年和他的叔叔安东尼奥setaiuolo minuto,也就是说,一个商人少量的丝绸和相关对象。

Giorgio Vasari报道,Domenico起初跟他的父亲,他是一个戈德史密斯。绰号“Il是基尔兰达约”(garland-maker)从他的父亲来到Domenico著名是谁创建的金属加兰例如佛罗伦萨妇女戴的头饰。根据瓦萨,Domenico肖像的路人和游客商店:“当他画国家人或人经过他的工作室,他立即捕获他们的肖像他是最终的学徒Alesso Baldovinetti学习绘画和马赛克.据艺术史学家Gunter Passavent,他曾在佛罗伦萨当过学徒安德里亚德尔Verrocchio.他与其他佛罗伦萨画家包括保持密切联系波提切利和翁布里亚语画家佩鲁基诺.

第一次在佛罗伦萨,罗马和托斯卡纳

是基尔兰达约擅长绘画壁画这是他的连环壁画而闻名。在1470年代早期委员会来到他的公社圣Gimignano装修的教堂的圣国际泳联在大学教堂的城市。执行的壁画,从1477年到1478年,描述两个神奇的事件与死亡联系在一起圣国际泳联.

1480年,是基尔兰达约的画圣杰罗姆在书房袒露心声圣奥古斯汀在书房波提切利的教会Ognissanti,佛罗伦萨.他也描绘了一幅真人大小的最后的晚餐的餐厅。从1481年到1485年,他被雇佣在壁画维琪、绘画等作品神化的圣Zenobius(1482)的萨拉del想来,over-life-sized处理一个精心设计的体系结构框架,数据的罗马英雄,和其他世俗的细节,引人注目的视角和创作能力。

1483年,是基尔兰达约的召见罗马通过教皇SixtusIV作为一个团队的佛罗伦萨和翁布里亚语画家他委托创建一系列壁画耶稣和摩西的生命的墙壁西斯廷教堂.是基尔兰达约粉刷了职业的使徒.他还画现在失去了基督的复活的穿越红海也被归咎于他,但是是一致的风格吗西罗塞利他也是委员会的一部分。是基尔兰达约已知创建其他作品在罗马,现在输了。他的未来妹夫,Sebastiano曼拉德,协助他与这些佣金和早期壁画在圣Gimignano曼拉德现在认为画报喜有时归因于是基尔兰达约。

1484年,一个代理卢多维科摩洛写信给他的主,描述个体的艺术家的作品,他的作品出现在佛罗伦萨:“多梅尼科是基尔兰达约一个好的画家在壁画的面板和更好的壁画,他的风格很好,他很活跃,很有创造力。”

后来在托斯卡纳

在1482年至1485年之间,是基尔兰达约画壁画周期Sassetti教堂的圣诞老人Trinita的银行家弗朗西斯科·Sassetti强大的主任美第奇银行是由罗马的分支乔凡尼和皮,是基尔兰达约未来的赞助人。的生命周期是6个场景阿西西的圣方济,包括圣弗朗西斯获得从他批准的规则圣的死亡和葬礼的复苏Spini家族的一个孩子,他死于从一个窗口。第一个画包含的画像洛伦佐·德·美第奇Sassetti洛伦佐的孩子与他们的导师,尼奥Poliziano。复苏显示了画家自己的肖像。

在1483年,抵达弗洛伦斯佛兰德画家的杰作Hugo van der走。现在被称为迪祭坛的装饰品,这是一个崇拜的牧羊人,委托托马索·迪美第奇家族银行的员工。这幅画是在油漆,而不是蛋彩画在佛罗伦萨,并演示了绘画的媒介材质的灵活性和强度的光与影。方面的绘画产生了深远的影响是基尔兰达约是牧羊人的自然主义描述。

是基尔兰达约粉刷了祭坛的装饰品Sassetti教堂的朝拜的牧羊人。在这幅画中,他特别显示了他对迪装饰画的债务。牧羊人,其中是一个艺术家的肖像,是与现实主义描绘在佛罗伦萨绘画预付款。装饰画仍在圣Trinita位置,四周的壁画是核心。两边跪捐助者的画像,虽然这些数据在墙上的壁画,他们占据同一位置和关系到中央场景的崇拜捐助者做的外板迪祭坛的装饰品。

后立即委员会Sassetti教堂,是基尔兰达约被要求更新的合唱队的壁画圣玛丽亚中篇小说,形成了里奇家族的教堂。婚礼和Tornaquinci家庭,他们比里奇更突出,进行恢复的成本,与某些合同条件。的婚礼教堂壁画上画四个课程在三面墙,受试者的生活圣母玛利亚和圣施洗约翰.

在这个周期里,有不少于21的婚礼和Tornaquinci家庭肖像。在天使似乎撒迦利亚,美第奇家族成员的肖像学院:尼奥Poliziano,Marsilio Ficino和其他人。婚礼教堂于1490年竣工的装饰画可能执行的协助下Domenico的兄弟,大卫。Benedetto;和一个彩色玻璃窗口是基尔兰达约自己的设计。

虽然主要壁画著称的周期是基尔兰达约画许多圣坛雕刻包括由圣人Zenobius圣母崇拜,又和其他人来说,画的教会圣犹士都,现在乌菲兹画廊和《来拜》在佛罗伦萨孤儿院Ospedale degli Innocenti,包括他自己的肖像。其他小组作品包括基督在荣耀Romuald和其他圣人在十二月沃尔泰拉和探视现在在罗浮宫熊,最后确定日期(1491年)的作品。

是基尔兰达约画一些面板的画像已知的身份,比如他的形象的画像乔凡娜婚礼,在1488年委托。也许他最著名的肖像是一个老人和他的孙子,引人注目的温柔表情和毁容鼻子的现实主义(rhinophyma)的老人被描述。

根据瓦萨里,是基尔兰达约也画一些古典学科与裸体的场景数据,包括一个火神和他的助手锻造雷击,洛伦佐二世德美第奇,但已不复存在。他还生产设计的马赛克包括报喜的门户佛罗伦萨大教堂.

死亡

是基尔兰达约于1494年去世的“瘟疫的热”,葬在圣玛丽亚中篇小说。他出生的日和月仍未登记,但他被记录在他的死于1月初四十五年。他已经两次结婚,离开了六个孩子。他的三个儿子之一,Ridolfo是基尔兰达约,也成为一个画家。虽然他一长串的后代,家庭消失在17世纪,当它最后的成员进入修道院。

关键的评估和遗产

是基尔兰达约工作主要在壁画,与一些重要的蛋彩画作品被执行。瓦萨里是基尔兰达约是第一个放弃的状态,在很大程度上,使用镀金的图片,通过绘画代表金子做的任何对象。这并不适用于整个作品,细节在一些画作,比如朝拜的牧羊人的祭坛的装饰品(现在佛罗伦斯学院在金箔)呈现。

根据威廉·迈克尔·罗塞蒂”,是基尔兰达约的方案组合是宏大而高雅;他的明暗对比的好,特别是他的观点,他将设计在一个非常精致的规模仅靠眼睛;他的色彩更开放的批评,但这句话更适用于比tempera-pictures壁画,是有时过于广泛,粗暴地明亮。”根据瓦萨里,他的观点很严重,他做了一个图纸的古罗马遗迹Colisseum他工作完全由眼睛,当后测量,证明了数学上精确的比例和直线透视图.

被认为是基尔兰达约的老师米开朗基罗.弗朗西斯科·Granacci是另一个他的学生之一。根据瓦萨里,这两个被派,是基尔兰达约美第奇学院,当洛伦佐·德·美第奇要求他的两个最好的学生。虽然米开朗基罗认为自己主要是一个雕刻家,在16世纪他跟随主人壁画作为一个画家,在西斯廷教堂.

高度赞扬了是基尔兰达约瓦萨里:“是基尔兰达约的他,从他的才华和伟大,他的大量作品,可能被称为一个最重要的和最优秀的大师的时代。“在19世纪雅各Burckhardt和其他人称赞他的作品,他的技术能力,以及逼真的质量数据,被阿奇博尔德约瑟夫·克罗和Giovanni Battista Cavalcaselle是创新的乔托一直在。在19世纪早期赞赏他的作品已经消退,直到1994年,艺术家逝世五百周年,他的兴趣重燃。在这个时候举行研讨会,随后深入专著艺术家发表。罗西瑙评论的有用性是基尔兰达约的画的图形记录历史学家。

Life and work

early stage

It's Domenico di Tomaso di currado di doffo bigordi, born in killanda. He was the eldest of six children born in his first wife, Tomaso bigordi Antonia Di ser Paul Paoli; only Domenico and his brothers and collaborator, David, were among them. And Benedetto were killandau's surviving childhood. Tomasso had two more children by his second wife, Antonia, who married in 1464. Alexander (b.1475), Domenico's sister, married artist Bastiano manrad in 1494. His father's career was in 1451 with his uncle Antonio setaiuolo Minuto, that is, a small amount of silk and related objects for a businessman.

Giorgio Vasari reports that Domenico started with his father, a goldsmith. Nicknamed "IL is garland maker" from his father came to Domenico famous for the creation of metal garlands such as those worn by Florentine women. According to Vasa, Domenico's portrait of passers-by and tourist shop: "when he painted a national or a person passing his studio, he immediately captured their portrait. He was the ultimate apprentice Alesso baldovinetti, who studied painting and mosaic. According to Gunter passavent, an art historian, he was apprentice Andrea del Verrocchio in Florence. He kept close contact with other Florentine painters, including Botticelli and Umbrian painter Perugino

Pope Gregory announces the death of St. fina, St. Gimignano of the University Church (ca. 1477)

In 1480, it was killandau's painting of St. Jerome in his study. St. Augustine was in his study in the Church of ognissanti, Florence in porticelli. He also painted a life size restaurant for the last supper. From 1481 to 1485, he was hired by saradel of Saint Zenobius (1482), who was deified by works such as mural Vicky and painting. He thought that over life sized handled a well-designed architecture framework, Roman heroes of data, and other secular details, eye-catching perspective and creative ability.

In 1483, it was killandau who summoned Rome through Pope Sixtus IV as a team of Florence and Umbrian painters. He commissioned the creation of a series of murals of the life of Jesus and Moses, the Sistine Chapel. It was killandau who painted the professional apostles. His paintings are also attributed to him in the Red Sea crossing the resurrection without Christ, but are they of the same style Altruism is also part of the Committee. It was killandau who was known to create other works in Rome, and now lost. His future brother-in-law, Sebastiano manlard, assisted him with these commissions and early murals in San Gimignano manlard now believes that pictorial joy is sometimes attributed to killandau.

In 1484, a representative of Ludovico Comoro wrote to his master, describing the works of individual artists. His works appeared in Florence: "Domenico is a good painter in killanda about the mural panel and better mural, his style is very good, he is very active and creative."

Later in Tuscany

Shepherd worship, sassetti church contains a portrait of the shepherd of killandayo

Between 1482 and 1485, Francesco sassetti, the banker of Trinita, the Santa Claus of the sassetti church, was the powerful director of the Medici bank, which was founded by the Roman branches Giovanni and PI, and was the future patron of killandau. The life cycle is six scenes of Assisi's St Francis, including St Francis getting a child from the spini family who died from a window of his approved rules of Saint's death and the resurrection of the funeral. The first painting contains a portrait of Lorenzo de Medici, sassetti, Lorenzo's children and their mentor, Neo poliziano. The revival shows the painter's own portrait.

In 1483, he arrived at Hugo van der, the masterpiece of Florence Flemish painter, and left. Now known as the decoration of the di altar, this is an adored shepherd who entrusts employees of the Tomaso Di Medici family bank. This painting is in paint, not in tempera in Florence, and demonstrates the flexibility and intensity of the painting's medium materials for light and shadow. The far-reaching impact of the aspect of painting is that killandayo is a naturalistic description of the shepherd.

Confirmed by the Franciscan rules of sassetti church, the portrait of Lorenzo de Medici and his family dominated the audience to the event.

It was killandau who painted the altar ornament, the pilgrim shepherd of sassetti church. In this painting, he especially shows his debt to Di's decorative painting. The shepherd, one of the artist's portraits, is painting with realism in Florence in advance. The decor is still in San Trinita's position, and the murals around it are the core. Kneeling on both sides of the donor's portrait, although these data are on the wall of the mural, they occupy the same position and are related to the central scene of the worship donor's decorations for the outer PADI altar.
Immediately after the Council of sassetti church, killandau was asked to update the choir's mural St. Mary's novella, forming the Church of the Ritchie family. Weddings and tornaquinci families, which are more prominent than Ritchie, carry the cost of recovery, with certain contractual conditions.