Cave to Canvas, Domenico Ghirlandaio, Adoration of the Magi, 1488 ...

Domenico Ghirlandaio, Adoration of the Magi, 1488

From the Web Gallery of Art:

Given his large-scale projects, Ghirlandaio could scarcely be expected to carry out such altar paintings in person. This was also realized by his donors, for some of them wrote into the contracts that the works they were paying for had to be painted by him in person. For example, on 28 October 1485, the Francesco di Giovanni Tesori, the prior of an orphanage ordered a panel painting of the Adoration of the Magi from Ghirlandaio. The picture was intended for the main altar of the Spedale degli Innocenti, a foundling hospital. Fra Bernardo acted as the middleman and drew up a contract which made the following requirements: Ghirlandaio had to “colour the aforementioned panel himself, in the manner that can be seen on a paper drawing, with the figures and in the manner as depicted there, and in all details in accordance with what I, Fra Bernardo, consider to be best: he must not deviate from the manner and composition of the mentioned drawing.” In addition, the artist had to colour the panel at his own expense and use good quality paints. Even the quality of the particularly expensive blue colour was precisely laid down in the contract: the artist had to use “ultramarine costing 4 florins per ounce”. Ghirlandaio had to deliver the panel paintings after thirty months and would receive 115 large florins for it if the panel turned out to be worth the sum. The decision in that respect was in the hands of the contract’s middleman, and as he assured himself in the text: “I can obtain an opinion as to its value or artistic merit from whomever I please, and if it does not appear to be worth the fixed price, he [Ghirlandaio] will receive as much less as I, Fra Bernardo, consider to be appropriate.” Completed in 1488, the work, which delighted the middleman and client, is one of Ghirlandaio’s finest panel paintings. The artist received the agreed fee, together with additional funds for a predella with stories of the Virgin. The scenes of the predella are the work of one of Ghirlandaio’s pupils, Bartolommeo di Giovanni as confirmed by the records. The great cornice of the altarpiece had been executed by the carpenter Francesco Bartolo on designs by Giuliano da Sangallo.

Posted on June 9 2012, with 58 Notes