 |
| Benvenuto Tisi (il Garofalo) St George before 1550 oil on panel Museo della Cattedrale, Ferrara |
 |
| Benvenuto Tisi (il Garofalo) Moses with the Tablets of the Law before 1550 oil on canvas (grisaille) Palazzo dei Diamanti, Ferrara |
 |
| Benvenuto Tisi (il Garofalo) Virgin and Child ca. 1510-15 oil on panel Bonnefantenmuseum, Maastricht |
 |
| Benvenuto Tisi (il Garofalo) Virgin and Child enthroned with Angels and Saints (detail) 1533 oil on canvas Palazzo dei Musei, Modena |
 |
| Benvenuto Tisi (il Garofalo) Virgin and Child enthroned with Saints ca. 1517-18 oil on panel National Gallery, London |
 |
| Benvenuto Tisi (il Garofalo) St Augustine's Vision of the Holy Trinity (child on a beach attempting to empty the sea into a hole in the sand) ca. 1520 oil on panel National Gallery, London |
 |
| Benvenuto Tisi (il Garofalo) Pagan Sacrifice 1526 oil on panel National Gallery, London |
 |
| Benvenuto Tisi (il Garofalo) Pagan Sacrifice (detail) 1526 oil on panel National Gallery, London |
 |
| Benvenuto Tisi (il Garofalo) Pagan Sacrifice (detail) 1526 oil on panel National Gallery, London |
 |
| Benvenuto Tisi (il Garofalo) Allegory of Love ca. 1530 oil on canvas National Gallery, London |
 |
| Benvenuto Tisi (il Garofalo) Allegory of Love (detail) ca. 1530 oil on canvas National Gallery, London |
 |
| Benvenuto Tisi (il Garofalo) Holy Family with Saints (detail) ca. 1520 oil on panel National Gallery, London |
 |
| Benvenuto Tisi (il Garofalo) Raising of Lazarus before 1550 oil on panel Palazzo dei Diamanti, Ferrara |
 |
| workshop of Benvenuto Tisi (il Garofalo) The Lamentation 1527 oil on canvas Palazzo dei Musei, Modena |
 |
| Benvenuto Tisi (il Garofalo) Ascension of Christ ca. 1540 oil on panel Fondazione Cavallini Sgarbi, Ferrara |
"Benvenuto Tisi – called Garofalo – was one of the leading painters working in Ferrara in the earlier 16th century, about the same time as Dosso Dossi. Garofalo was probably trained by Boccaccini of Cremona, who was in Ferrara from 1497 to 1500. According to Vasari, Garofalo twice visited Rome, and knowledge of classical art and recent Roman painting is apparent in some of his work. Even so, and unlike Dosso, Garofalo appears cautious and old-fashioned in his style and technique. In this he resembles his lesser contemporaries in Ferrara, Ludovico Mazzolino, who also specialised in small-scale religious works, and Ortolano, with whose paintings those of Garofalo are sometimes confused."
– from curator's notes at the National Gallery, London