Abstract

Davide and Benedetto Ghirlandaio’s close association with their brother Domenico has made it difficult to individuate their own artistic styles and evaluate their contributions to the Ghirlandaio workshop. Benedetto’s artistic character is particularly elusive, since the Nativity in the church of Notre-Dame in Aigueperse, Auvergne, is the only work firmly attributed to him. This paper proposes a reconstruction of Benedetto’s career by reassessing the works once ascribed to a painter known as the Master of the Saint Louis Madonna. Most of these paintings, centred on the eponymous work in the Saint Louis Art Museum, have been incorporated into Davide’s oeuvre. Stylistic analysis, however, reveals their distinct artistic character and uncovers numerous points of comparison with the Aigueperse Nativity. On that basis they are reattributed here to the young Benedetto in his initial Florentine period. This identification is also corroborated by an analysis of his sojourn in France between 1486 and 1493, where he developed his technical skills and his interest in Netherlandish painting, possibly through the interaction with the Master of Moulin. The paper then goes on to an examination of his activities after his return to Florence, and the ways in which he integrated his experience gained in France into the late Ghirlandaio workshop style. Benedetto’s artistic development revealed by this reconstruction suggests a rich cross-fertilisation within the Florentine workshops in the late fifteenth century, with particular focus on the artists around the Verrocchio workshop in the early 1480s and those who participated in the Ghirlandaio workshop after Domenico’s death. Also, as Benedetto was one of the few Italian painters who worked north of the Alps, the reappraisal of his career offers insights into the ways in which travelling artists could interact with local artistic environments and develop their own styles.