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| Gaetano Gandolfi Three Female Heads ca. 1785 drawing Metropolitan Museum of Art, New York |
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| Gaetano Gandolfi Joshua in Clouds 1779 drawing Metropolitan Museum of Art, New York |
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| Gaetano Gandolfi Noah in Clouds ca. 1780 drawing Morgan Library, New York |
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| Gaetano Gandolfi Holy Family ca. 1775 drawing Metropolitan Museum of Art, New York |
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| Gaetano Gandolfi Holy Family ca. 1775 oil on canvas private collection |
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| Gaetano Gandolfi Holy Family with St Augustine 1761 oil on canvas private collection |
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| Gaetano Gandolfi Liberation of St Peter ca. 1770 oil on canvas Yale University Art Gallery |
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| Gaetano Gandolfi Christ supported by Two Angels ca. 1780 oil on copper private collection |
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| Gaetano Gandolfi Venus obtaining Arms for Aeneas at Vulcan's Forge 1775 oil on canvas Detroit Institute of Arts |
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| Gaetano Gandolfi Alexander presenting Campaspe to Apelles 1793 oil on canvas private collection |
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| Gaetano Gandolfi Head of a Bishop (character head) ca. 1770 oil on canvas Metropolitan Museum of Art, New York |
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| Gaetano Gandolfi Head of a Boy (character head) ca. 1770-80 oil on panel Detroit Institute of Arts |
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| Gaetano Gandolfi Figure Study ca. 1780 oil on paper Bowes Museum, Barnard Castle, County Durham |
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| Gaetano Gandolfi Académie ca. 1755-60 drawing Cleveland Museum of Art, Ohio |
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| Gaetano Gandolfi Académie ca. 1755-60 drawing Museo del Prado, Madrid |
"While Ubaldo Gandolfi was a competent and sometimes exceptional painter, he was not an innovator. In contrast, his brother Gaetano developed a unique style within the broad trends of European art of the period. Gaetano himself emphasized the importance of his year in Venice in 1760, and the impact on his subsequent work is obvious. Eschewing the pasty brush strokes of his brother for the liquid glazes of the Venetians, he produced paintings of luscious color and movement. Sebastiano Ricci and the Tiepolo have been evoked as significant influences on his style. . . . But Gaetano never renounced his training: compositional clarity and dramatic theatrical settings are Bolognese traits stemming from the Carracci and, a closer model, Donato Creti. Some of Gaetano's best drawings of the 1750s and 1760s depend heavily on the examples of the Carracci and Guercino, as well as Canuti."
– excerpted from Diane De Grazia's review of Bella Pittura: the Art of the Gandolfi (exhibition catalogue by Mimi Cazort), published in the Summer 1995 issue of Master Drawings