Gustav Klimt
Gustav Klimt's Oil Paintings
Gustav Klimt Museum
1862 – 1918, An Austrian Symbolist Painter.

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Here are all the paintings of PULIGO, Domenico 01

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
8699 Portrait of a Lady agf PULIGO, Domenico Portrait of a Lady agf Oil on wood Royal Collection, Windsor
28893 Portrait of a Woman Dressed as Mary Magdalen PULIGO, Domenico Portrait of a Woman Dressed as Mary Magdalen mk65 Oil on panel 24 3/16x20 3/16in Pitti,
28894 Portrait of Piero Carnesecchi PULIGO, Domenico Portrait of Piero Carnesecchi mk65 Oil on panel 23 7/16x15 9/16in Uffizi.
44398 Portrait of Pietro Carnesecchi PULIGO, Domenico Portrait of Pietro Carnesecchi Oil on wood, 59,5 x 39,5 cm

PULIGO, Domenico
Italian Painter, 1492-1527 He trained in Florence with Ridolfo Ghirlandaio and in the workshops of Antonio del Ceraiuolo ( fl 1st half 16th century) and Andrea del Sarto. What may be his earliest surviving work, the Virgin and Child with St John (c. 1513; Rome, Pal. Venezia), reflects the style of Ghirlandaio. Other early paintings, however, such as the Holy Family (Florence, Gal. Corsini), show the influence of Fra Bartolommeo and Andrea del Sarto and are little affected by Ghirlandaio. The Virgin and Child with the Infant St John (c. 1522; Florence, Pitti) clearly reflects the examples of Fra Bartolommeo and Raphael, with the figures in the manner of Andrea del Sarto. The figure of the Christ Child may derive from Raphael's Madonna of the Pinks (c. 1507-8; Alnwick Castle, Northumb., on loan to London, N.G.). Over a dozen drawings have been attributed to Puligo, but none relates to his extant work or resembles his style of painting. Vasari described him as a particularly lazy artist, which may account for this scarcity of drawings and for the frequency of borrowed motifs and repeated compositions in his smaller religious paintings. Such borrowing often resulted in a lack of harmony in his compositions, as in the Pitti Virgin and Child. The influence of the more sculptural forms of Andrea del Sarto's work of the 1520s can be seen in the Mary Magdalene (c. 1525; Ottawa, N.G.).
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