Domenico Ghirlandaio (1449^[2]-1494^[2]) was a Florentine master painter active during the time of Lorenzo de Medici. He initially trained as a goldsmith in his father's workshop. Later, Ghirlandaio apprenticed with Alesso Baldovinetti, a painter and mosaicist with a studio outside the Faenza gate. Ghirlandaio's earliest works include paintings for the Vespucci family chapel in the church of Ognissanti, Florence. Giorgio Vasari mentions a "Dead Christ" and a "Madonna della Misericordia", noting that Ghirlandaio included a likeness of Amerigo Vespucci in the latter. It is estimated that this commission was completed by 1472. In 1475, Ghirlandaio and his brother decorated the Vatican library, during the renovation initiated by Pope Sixtus IV, who had been elected in 1471. Ghirlandaio repainted the Capella Maggiore in Santa Maria Novella, replacing Andrea Orgagna's damaged work. Vasari praised its colours, skillful handling, and limited use of retouching. Ghirlandaio also painted a chapel for Giovanni Tornabuoni at his villa, Casa Macherelli, near Florence. Additionally, for the convent of II Palco fuori di Prato, Ghirlandaio painted a "Madonna Enthroned", commissioned on 20 August 1490, for which he received thirty-five gold florins.

Domenico Ghirlandaio (1449^[2]-1494^[2]) was a Florentine painter of the Early Renaissance. He led a large workshop, and his paintings are important as records of life in Florence during that period. Ghirlandaio is known for his frescoes, particularly those in the Sassetti Chapel of Santa Trinita, and the Tornabuoni Chapel in Santa Maria Novella, both in Florence. These works depict scenes from the lives of St. Francis and the Virgin Mary, respectively. They also include portraits of contemporary Florentine citizens. For example, his "Confirmation of the Rule" shows a gathering of the Medici family and their associates. These portraits offer insights into the appearance and fashions of the Florentine elite. His attention to detail and realistic portrayal of people and settings make his paintings valuable historical documents. Ghirlandaio's influence can be seen in the work of his pupils, most notably Michelangelo. Although overshadowed by some of his contemporaries and students, Ghirlandaio's art provides a window into the social and cultural context of Renaissance Florence.

Domenico Ghirlandaio, a Florentine painter of the Early Renaissance, employed a range of techniques and materials common to his era. He is mainly known for his frescoes, large-scale paintings on plaster, often used for decorating church interiors. Ghirlandaio’s fresco technique involved applying pigments to wet plaster (intonaco), allowing the colours to bind chemically as the plaster dried. This method ensured the painting became an integral part of the wall. He also used the secco method, applying paint to dry plaster, which allowed for finer detail but was less durable. For panel paintings, Ghirlandaio typically used tempera, a fast-drying painting medium made from egg yolk, pigment, and water. This produced a matte finish and allowed for precise brushwork. Ghirlandaio prepared his panels with gesso, a white ground that provided a smooth surface for painting. He sometimes used oil glazes to add depth and luminosity to his tempera paintings. Drawings were a fundamental part of Ghirlandaio's practice. He used charcoal and chalk for preparatory sketches, working out compositions and figures before transferring them to the final painting surface.

Domenico Ghirlandaio's work had an impact on later artists, though perhaps not always in a positive way. Domenico di Bartolomeo, active in Perugia, borrowed from Andrea del Sarto. Domenico's Madonna and Child figures show knowledge of del Sarto's Madonna of the Harpies (painted in 1517) and the Porta Pinti Madonna, a fresco from 1520 that is now lost. Domenico paid close attention to Mary's posture in del Sarto's fresco. A design for an Adoration of the Magi by del Sarto appears in several of Domenico's later works. These include a major altarpiece of 1537 to 1544, representing the Holy Family with Saints Francis and Anthony of Padua from the church of San Francesco al Prato, Perugia, for which he borrowed the Madonna and Child. Del Sarto's composition survives in a drawing at the Louvre and in a modello in the Uffizi, which John Shearman dated to around 1521 to 1522. Domenico used the modello for his later Adoration of the Magi, completed in 1545.

Domenico Ghirlandaio (1449^[2]-1494^[2]) was a Florentine painter known for his descriptive frescoes and for training Michelangelo in fresco techniques. Ghirlandaio's initial artistic training was with Alessio Baldovinetti (1425-99), where he studied painting and mosaic. It is also probable that he trained for a time with Andrea del Verrocchio (1435-88), who was a painter and sculptor. Ghirlandaio's style was somewhat conservative compared to some contemporaries. He favoured fresco and tempera, rather than oils. His work shows inspiration from Masaccio and also from Flemish painters. In 1481, Ghirlandaio received a commission to produce frescoes for the library of Pope Sixtus IV in Rome, and also for part of the Sistine Chapel. He ran a successful workshop in Florence with his younger brothers. Ghirlandaio's frescoes were popular, in part because they often contained portraits of his patrons.

Domenico Ghirlandaio (1449^[2]-1494^[2]) was a Florentine painter of the Early Renaissance. He is known for his descriptive frescoes and for training Michelangelo in fresco techniques. Ghirlandaio's nickname came from his goldsmith father, who made garland necklaces popular with Florentine women. His paintings embody the accomplishments of 15th-century Florentine art. These include clear spatial representation, statuesque figures, and logical relations among the figures and objects. Ghirlandaio consolidated existing techniques rather than developing new ones. He preferred fresco and tempera, rarely using oils. He was inspired by Masaccio and Flemish painters. His workshop was one of the most successful in Florence. His frescoes often included portraits of his patrons. For example, his cycle of frescoes at Santa Maria Novella includes members of the Tornabuoni family.

Domenico Ghirlandaio (1449^[2]-1494^[2]) was a Florentine painter of the Early Renaissance. He led a large and productive workshop; his brothers Davide and Benedetto, and his son Ridolfo, all collaborated with him. Michelangelo was apprenticed to Ghirlandaio for a year, but did not adopt his master's style. Ghirlandaio is known for his frescoes, particularly narrative cycles depicting the lives of saints or scenes from the Bible. His work is characterised by clear, well-organised compositions and realistic details. He often included portraits of contemporary Florentine citizens in his religious scenes; this practice provides valuable insights into the society and culture of Florence during the late 15th century. Major commissions include the fresco cycles in the Sassetti Chapel of Santa Trinita (1480-1485^[2]) and the Tornabuoni Chapel in Santa Maria Novella (1485-1490). The Sassetti Chapel includes scenes from the life of St. Francis; the Tornabuoni Chapel depicts the lives of the Virgin Mary and St. John the Baptist. Ghirlandaio also produced panel paintings, altarpieces, and portraits; these demonstrate his skill in oil and tempera techniques. His art represents a high point of Florentine painting before the High Renaissance.

Domenico Ghirlandaio was a successful Florentine painter. He is known for his lifelike scenes, such as the Visitation, which depicts Mary visiting her cousin Elizabeth.