text stringlengths 0 3.13k |
|---|
1847: Member of the Royal Academy of Science, Letters and Fine Arts of Belgium |
References |
External links |
La Scultura Italiana: Lorenzo Bartolini (Italian) |
Belli Barsali, Isa (1964). "BARTOLINI, Lorenzo". Dizionario Biografico degli Italiani, Volume 6: Baratteri–Bartolozzi (in Italian). Rome: Istituto dell'Enciclopedia Italiana. ISBN 978-8-81200032-6. |
Lorenzo Lotto (c. 1480 – 1556/57) was an Italian Renaissance painter, draughtsman, and illustrator, traditionally placed in the Venetian school, though much of his career was spent in other north Italian cities. He painted mainly altarpieces, religious subjects and portraits. He was active during the High Renaissance a... |
Overview |
During his lifetime Lotto was a well-respected painter and certainly popular in Northern Italy; he is traditionally included in the Venetian School, but his independent career actually places him outside the Venetian art scene. He was certainly not as highly regarded in Venice as in the other towns where he worked, for... |
Biography |
Born in Venice, he worked in Treviso (1503–1506); in the Marche (1506–1508); in Rome (1508–1510); in Bergamo (1513–1525); in Venice (1525–1549); in Ancona (1549), and finally, as a Franciscan lay brother, in Loreto (1549–1556). |
Apprenticeship |
Little is known of his training. As a Venetian he was influenced by Giovanni Bellini as he had a good knowledge of contemporary Venetian painting. Though Bellini was doubtless not his teacher, the influence is clear in his early painting Virgin and Child with St. Jerome (1506; National Gallery of Scotland, Edinburgh). ... |
Treviso (1503–1506) |
Lotto soon left Venice, because there the competition for a young painter would have been too great, with established names such as Giorgione, Palma the Elder and certainly with Titian. Nevertheless, Giorgio Vasari mentions in the third part of his book Vite that Lotto was a friend of Palma the Elder. In Treviso, a pro... |
Recanati (1506–1508) and Rome (1508–1510) |
In 1508 he began the Recanati Polyptych altarpiece for the church of San Domenico; this two-tiered and rather conventionally painted polyptych consists of six panels. His portrait Young Man against a White Curtain in the Kunsthistorisches Museum, Vienna (c. 1506) and Adoration of the Child (c. 1508) in the National Mus... |
As he became a respected painter, he came to the attention of Bramante, the papal architect, who was passing through Loreto (a pilgrimage site near Recanati). Lotto was invited to Rome to decorate the papal apartments, but nothing survives of this work, as it was destroyed a few years later. This was probably because h... |
The Marche (1511–1513) and Bergamo (1513–1525) |
In 1511 he was at work for the confraternity of the Buon Gesù in Jesi, painting an Entombment (Pinacoteca Civica, Jesi); soon after he was painting altarpieces in Recanati: a Transfiguration (c.1512, now in the Pinacoteca Comunale, Recanati and a fresco (St Vincent Ferrer) for the church of San Domenico. His work in ... |
His next works are mostly wall paintings: in 1524 he painted a series of frescoes with the lives of saints (such as Saint Barbara) in the Suardi Chapel in Trescore (near Bergamo). In the details he depicts scenes of each saint's life, such as in the fresco Martyrdom of St. Claire. In the same fresco he portrays Christ ... |
More than 20 private paintings date from the same period; they are mostly of religious and pious subjects, such as Madonnas or a Deposition, used for worship at home. Though he painted in the Classical tradition, Lotto adds a personal touch to the intense emotions. Using contrasting poses and opposing movement, he brea... |
Venice (1525–1532) |
In Venice, Lotto first resided at the Dominican monastery of Santi Giovanni e Paolo, but he was forced to leave after a few months after a conflict with intarsia artist Fra Damiano da Bergamo. To cope with the many commissions he started to receive, he founded a workshop. He shipped five altarpieces for churches in the... |
As Venice was a city of great wealth and as popularity increased, he received many orders for private paintings, including ten portraits, among them, Portrait of a Young Man (Gemäldegalerie, Berlin). His portrait of Andrea Odoni (Royal Art Collection, Hampton Court) (1527) would later influence the portrait of Jacopo S... |
Venice, the Veneto and the Marche (1532–1556) |
In this last period of his life, Lorenzo Lotto would frequently move from town to town, searching for patrons and commissions. In 1532 he went to Treviso. Next he spent about seven years in the Marche (Ancona, Macerata and Jesi), before returning to Venice in 1540. He moved again to Treviso in 1542 and back to Venice i... |
This was a productive period in his life, during which he painted several altarpieces and portraits. |
At the end of his life, Lotto found it difficult to earn a living. Furthermore, in 1550, when he was about 70, one of his works had an unsuccessful auction in Ancona. As recorded in his personal account book, this deeply disillusioned him. As he had always been a deeply religious man, in 1552 he joined the Holy Sanctua... |
Giorgio Vasari included Lotto's biography in the third volume of his book Vite. Lorenzo Lotto himself left many letters and a detailed notebook (Libro di spese diverse, 1538–1556), giving insight to his life and work. His influence was felt by many painters, including probably Giovanni Busi, and Ercole Ramazzani, born ... |
Thanks to the work of the art historian Bernard Berenson, Lotto was rediscovered at the end of the 19th century. Since then, many monographs and several exhibitions have been dedicated to Lorenzo Lotto, such as the exhibition in Venice in 1953 and one in the National Gallery of Art, Washington, USA, in 1998. |
Selected works |
Madonna with Child, St. Peter of Verona and Donor (1503). National Museum of Capodimonte, Naples |
Santa Cristina al Tiverone Altarpiece (c. 1504–1506). Church of Santa Cristina al Tiverone, Quinto di Treviso, Veneto |
Allegory of Virtue and Vice (1505). National Gallery of Art, Washington, USA |
Allegory of Chastity (c. 1505). National Gallery of Art, Washington |
Madonna with Child and Saints (c. 1505). Scottish National Gallery, Edinburgh, United Kingdom |
Asolo Altarpiece (1506). Cathedral of Asolo, Veneto |
Recanati Polyptych (1506–1508). Civic Museum Villa Colloredo Mels, Recanati |
Portrait of a Young Man with a Lamp (c. 1506). Kunsthistorisches Museum, Vienna |
Saint Jerome in Penitence (c. 1506). Louvre, Paris |
Adoration of the Christ Child (1508). EUROPEUM, Kraków |
Saint Joseph and the Virgin Suitors (c. 1508). Thyssen-Bornemisza Museum, Madrid |
Mystic Marriage of Saint Catherine (1506–1508), Alte Pinakothek, Munich |
Madonna with Child between Sts. Flavian and Onuphrius (1508). Borghese Gallery, Rome |
Saint Jerome in Penitence (c. 1509). Museo nazionale di Castel Sant'Angelo |
Transfiguration (1510–1512). Civic Museum Villa Colloredo Mels, Recanati |
Martinengo Altarpiece (1513–1516), Santi Bartolomeo e Stefano, Bergamo |
Saint Jerome in Penitence, (1515). Allentown Art Museum, Pennsylvania |
Susanna and the Elders (1517), Uffizi Gallery, Florence |
Portrait of Lucina Brembati (c. 1518). Accademia Carrara, Bergamo |
Madonna and Child with Saint Roch and Saint Sebastian (c. 1518). National Gallery of Canada, Ottawa |
Holy Trinity (c. 1519–20). Museo Adriano Bernareggi in Bergamo. |
Christ Taking Leave of his Mother (Lotto), Gemäldegalerie, Berlin |
Santo Spirito Altarpiece (1521). Church of Santo Spirito, Bergamo |
Adoration of the Child (1523). National Gallery of Art, Washington, USA |
Marsilio Cassotti and His Bride Faustina (1523). Prado Museum, Madrid |
Mystical Marriage of St Catherine of Alexandria (1523). Accademia Carrara, Bergamo |
Ritratto di coniugi (1524). Hermitage Museum, Saint Petersburg, Russia |
Christ Carrying the Cross (1526). Louvre, Paris |
Portrait of a Young Man with a Book (c. 1526) Pinacoteca del Castello Sforzesco, Milan |
Portrait of Andrea Odoni (1527). Royal Collection, London |
Madonna and Child with Saint Catherine and Saint James, (c. 1527). Kunsthistorisches Museum, Vienna |
Portrait of a Gentleman with a Lion Paw (c. 1527). Kunsthistorisches Museum, Vienna |
Saint Nicholas in Glory (1527–1529). Santa Maria dei Carmini, Venice |
Triumph of Chastity (c. 1530). Palazzo Pallavicini Rospigliosi, Rome |
Venus and Cupid (c. 1530). Metropolitan Museum of Art, New York |
Saint Lucy Before the Judge (1532). Pinacoteca comunale, Jesi |
The Sleeping Child Jesus with the Madonna, St. Joseph and St. Catherine of Alexandria (1533). Accademia Carrara, Bergamo |
Portrait of a Lady as Lucretia (1533). National Gallery, London. |
Madonna with Child and Two Donors (c. 1533–1535). Getty Center, Los Angeles, US |
Recanati Annunciation (c. 1534). Civic Museum Villa Colloredo Mels, Recanati |
Holy Family with SS Jerome, Anna and Joachim (1534). Uffizi, Florence |
Holy Family with St. John the Baptist (c. 1536). Louvre, Paris |
Pietà (1538–1545). Pinacoteca di Brera, Milan |
Portrait of a Young Man, Uffizi, Florence |
Crucifixion with Pietà, Church of Santa Maria in Telusiano, Monte San Giusto |
Madonna of the Rosary (1539). Church of San Nicolò or San Domenico, Cingoli |
Altarpiece of the Halberd (c. 1539). Ancona, Pinacoteca Civica Francesco Podesti |
Portrait of a Man with a Felt Hat (c. 1541) National Gallery of Canada, Ottawa |
Bust of a Bearded Man (1541, ascribed). Fine Arts Museum, San Francisco |
The Alms of Saint Anthony (1542). Church of Santi Giovanni e Paolo, Venice |
Portrait of Laura da Pola (1543–1544). Pinacoteca di Brera, Milan |
Portrait of an Old Man with Gloves (c. 1543). Pinacoteca di Brera, Milan |
Portrait of a Man (c. 1545) Pinacoteca di Brera, Milan |
Madonna and four Saints (1546) Church of San Giacomo dall’Orio, Venice |
Saint Jerome in Penitence (1546). Prado Museum, Madrid |
Portrait of Brother Gregorio Belo of Vicenza (1548). Metropolitan Museum of Art, New York City |
Assumption (1550). church of San Francesco alle Scale, Ancona |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.