GCB Kunstlexikon
LORENZO LOTTO
KUNSTWERKE
Exposición | Lorenzo Lotto | Retratos | Museo Nacional del Prado | https://www.museodelprado.es/ | Miguel Falomir, director of the Museo Nacional del Prado and curator of the exhibition, comments „Lorenzo Lotto. Portraits“ | The Museo del Prado and the National Gallery in London are presenting the first major monographic exhibition on portraits by Lorenzo Lotto, one of the most unique and fascinating artists of the Italian Cinquecento. The intensity of these works and the variety and sophistication of the visual and intellectual resources that they deploy make Lotto the first modern portraitist | Organised with the sole sponsorship of Fundación BBVA, this exhibition features 38 paintings, 10 drawings, a print and around 15 sculptures and objects similar to those depicted in the portraits, the latter offering a reflection of material culture of the time | curated by Enrico Maria Dal Pozzolo | University of Verona and curated by Miguel Falomir | director of the Museo del Prado | YouTube
Lorenzo Lotto | 1480-1557 | Volume One | A collection of paintings |
Master Painters | Lorenzo Lotto was an Italian 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 and the first half of the Mannerist period, but his work maintained a generally similar High Renaissance style throughout his career, although his nervous and eccentric posings and distortions represented a transitional stage to the Florentine and Roman Mannerists. 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 he had a stylistic individuality, even an idiosyncratic style (although it fit within the parameters of High Renaissance painting) and, after his death, he gradually became neglected and then almost forgotten; this could be attributed to the fact that his oeuvre now remains in lesser known churches or in provincial museums. Born in Venice, he worked in Treviso (1503–1506); in the Marches (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). 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). However, in his portraits and in his early painting Allegory of Virtue and Vice (1505) (National Gallery of Art, Washington), he shows the influence of Giorgione’s Naturalism. As he grew older his style changed, perhaps evolving, from a detached Giorgionesque classicism, to a more vibrant dramatic set piece, more reminiscent of his contemporary from Parma, Correggio. 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 Museum in Kraków with Catherine Cornaro, Queen of Cyprus portrayed as Saint Catherine, are paintings from this period. 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 he had imitated the style of Raphael, a rapidly rising star in the Papal court; indeed he had done it before, in the Transfiguration of the Recanati polyptych. 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 Marches and another one for the church Santa Maria Assunta in Celano (near Bergamo). Another altarpiece was for the Venetian church of Santa Maria dei Carmini, portraying St. Nicholas of Bari in Glory. 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 Strada by Titian (1568) (Kunsthistorisches Museum, Vienna). But in Venice he was overshadowed by Titian, who dominated the artistic scene. 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 Marches (Ancona, Macerata and Jesi), before returning to Venice in 1540. He moved again to Treviso in 1542 and back to Venice in 1545. Finally he went back to Ancona in 1549. 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 | YouTube
Lorenzo Lotto | Portraits | Exhibitions | Showcase | He was one of the most original of all the Renaissance portrait painters. Instead of royalty, luminaries and emperors, Lorenzo Lotto painted ordinary men and women. And on some occasions, he even paid the poor to sit for him. And now, an exhibition in London brings together a collection of portraits that are giving viewers a unique glimpse of Italy in the 16th century. Showcase’s Miranda Atty went to see them for herself… | And to further explore the work of Lorenzo Lotto, Showcase is joined from London by the chief art critic for the Daily Telegraph, Mark Hudson | YouTube
video / film
Il genio di Lorenzo Lotto svelato da Antonio Paolucci | The genius of Lorenzo Lotto revealed by Paolucci | Musei Vaticani http://www.museivaticani.va/content/museivaticani/de.html | YouTube
Curator’s introduction | Lorenzo Lotto Portraits | National Gallery | London | https://www.nationalgallery.org.uk/ | Join Matthias Wivel, our curator of 16th-century Italian paintings and curator of Lorenzo Lotto Portraits, to find out more about the exhibition | Celebrated as one of the greatest portraitists of the Italian Renaissance, Lorenzo Lotto uniquely portrayed a cross section of middle-class sitters, among them clerics, merchants, and humanists. Lotto depicted men, women, and children in compositions rich in symbolism and imbued with great psychological depth. The prominent addition of objects which hinted at the social status, interests, and aspirations of his subjects added meaning to each work. With the inclusion of documents that have survived from Lotto’s own account books, this exhibition – the first of its kind in the UK – provides extraordinary insight into the artist’s individualistic style and the people he portrayed | Exhibition organised by the National Gallery and the Museo Nacional del Prado, Madrid | YouTube
WIKIPEDIA
LORENZO LOTTO
KUNSTWERKE
Exposición | Lorenzo Lotto | Retratos | Museo Nacional del Prado | https://www.museodelprado.es/ | Miguel Falomir, director of the Museo Nacional del Prado and curator of the exhibition, comments „Lorenzo Lotto. Portraits“ | The Museo del Prado and the National Gallery in London are presenting the first major monographic exhibition on portraits by Lorenzo Lotto, one of the most unique and fascinating artists of the Italian Cinquecento. The intensity of these works and the variety and sophistication of the visual and intellectual resources that they deploy make Lotto the first modern portraitist | Organised with the sole sponsorship of Fundación BBVA, this exhibition features 38 paintings, 10 drawings, a print and around 15 sculptures and objects similar to those depicted in the portraits, the latter offering a reflection of material culture of the time | curated by Enrico Maria Dal Pozzolo | University of Verona and curated by Miguel Falomir | director of the Museo del Prado | YouTube
Lorenzo Lotto | 1480-1557 | Volume One | A collection of paintings |
Master Painters | Lorenzo Lotto was an Italian 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 and the first half of the Mannerist period, but his work maintained a generally similar High Renaissance style throughout his career, although his nervous and eccentric posings and distortions represented a transitional stage to the Florentine and Roman Mannerists. 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 he had a stylistic individuality, even an idiosyncratic style (although it fit within the parameters of High Renaissance painting) and, after his death, he gradually became neglected and then almost forgotten; this could be attributed to the fact that his oeuvre now remains in lesser known churches or in provincial museums. Born in Venice, he worked in Treviso (1503–1506); in the Marches (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). 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). However, in his portraits and in his early painting Allegory of Virtue and Vice (1505) (National Gallery of Art, Washington), he shows the influence of Giorgione’s Naturalism. As he grew older his style changed, perhaps evolving, from a detached Giorgionesque classicism, to a more vibrant dramatic set piece, more reminiscent of his contemporary from Parma, Correggio. 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 Museum in Kraków with Catherine Cornaro, Queen of Cyprus portrayed as Saint Catherine, are paintings from this period. 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 he had imitated the style of Raphael, a rapidly rising star in the Papal court; indeed he had done it before, in the Transfiguration of the Recanati polyptych. 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 Marches and another one for the church Santa Maria Assunta in Celano (near Bergamo). Another altarpiece was for the Venetian church of Santa Maria dei Carmini, portraying St. Nicholas of Bari in Glory. 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 Strada by Titian (1568) (Kunsthistorisches Museum, Vienna). But in Venice he was overshadowed by Titian, who dominated the artistic scene. 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 Marches (Ancona, Macerata and Jesi), before returning to Venice in 1540. He moved again to Treviso in 1542 and back to Venice in 1545. Finally he went back to Ancona in 1549. 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 | YouTube
Lorenzo Lotto | Portraits | Exhibitions | Showcase | He was one of the most original of all the Renaissance portrait painters. Instead of royalty, luminaries and emperors, Lorenzo Lotto painted ordinary men and women. And on some occasions, he even paid the poor to sit for him. And now, an exhibition in London brings together a collection of portraits that are giving viewers a unique glimpse of Italy in the 16th century. Showcase’s Miranda Atty went to see them for herself… | And to further explore the work of Lorenzo Lotto, Showcase is joined from London by the chief art critic for the Daily Telegraph, Mark Hudson | YouTube
video / film
Il genio di Lorenzo Lotto svelato da Antonio Paolucci | The genius of Lorenzo Lotto revealed by Paolucci | Musei Vaticani http://www.museivaticani.va/content/museivaticani/de.html | YouTube
Curator’s introduction | Lorenzo Lotto Portraits | National Gallery | London | https://www.nationalgallery.org.uk/ | Join Matthias Wivel, our curator of 16th-century Italian paintings and curator of Lorenzo Lotto Portraits, to find out more about the exhibition | Celebrated as one of the greatest portraitists of the Italian Renaissance, Lorenzo Lotto uniquely portrayed a cross section of middle-class sitters, among them clerics, merchants, and humanists. Lotto depicted men, women, and children in compositions rich in symbolism and imbued with great psychological depth. The prominent addition of objects which hinted at the social status, interests, and aspirations of his subjects added meaning to each work. With the inclusion of documents that have survived from Lotto’s own account books, this exhibition – the first of its kind in the UK – provides extraordinary insight into the artist’s individualistic style and the people he portrayed | Exhibition organised by the National Gallery and the Museo Nacional del Prado, Madrid | YouTube
WIKIPEDIA
LORENZO LOTTO
KUNSTWERKE
Exposición | Lorenzo Lotto | Retratos | Museo Nacional del Prado | https://www.museodelprado.es/ | Miguel Falomir, director of the Museo Nacional del Prado and curator of the exhibition, comments „Lorenzo Lotto. Portraits“ | The Museo del Prado and the National Gallery in London are presenting the first major monographic exhibition on portraits by Lorenzo Lotto, one of the most unique and fascinating artists of the Italian Cinquecento. The intensity of these works and the variety and sophistication of the visual and intellectual resources that they deploy make Lotto the first modern portraitist | Organised with the sole sponsorship of Fundación BBVA, this exhibition features 38 paintings, 10 drawings, a print and around 15 sculptures and objects similar to those depicted in the portraits, the latter offering a reflection of material culture of the time | curated by Enrico Maria Dal Pozzolo | University of Verona and curated by Miguel Falomir | director of the Museo del Prado | YouTube
Lorenzo Lotto | 1480-1557 | Volume One | A collection of paintings |
Master Painters | Lorenzo Lotto was an Italian 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 and the first half of the Mannerist period, but his work maintained a generally similar High Renaissance style throughout his career, although his nervous and eccentric posings and distortions represented a transitional stage to the Florentine and Roman Mannerists. 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 he had a stylistic individuality, even an idiosyncratic style (although it fit within the parameters of High Renaissance painting) and, after his death, he gradually became neglected and then almost forgotten; this could be attributed to the fact that his oeuvre now remains in lesser known churches or in provincial museums. Born in Venice, he worked in Treviso (1503–1506); in the Marches (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). 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). However, in his portraits and in his early painting Allegory of Virtue and Vice (1505) (National Gallery of Art, Washington), he shows the influence of Giorgione’s Naturalism. As he grew older his style changed, perhaps evolving, from a detached Giorgionesque classicism, to a more vibrant dramatic set piece, more reminiscent of his contemporary from Parma, Correggio. 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 Museum in Kraków with Catherine Cornaro, Queen of Cyprus portrayed as Saint Catherine, are paintings from this period. 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 he had imitated the style of Raphael, a rapidly rising star in the Papal court; indeed he had done it before, in the Transfiguration of the Recanati polyptych. 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 Marches and another one for the church Santa Maria Assunta in Celano (near Bergamo). Another altarpiece was for the Venetian church of Santa Maria dei Carmini, portraying St. Nicholas of Bari in Glory. 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 Strada by Titian (1568) (Kunsthistorisches Museum, Vienna). But in Venice he was overshadowed by Titian, who dominated the artistic scene. 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 Marches (Ancona, Macerata and Jesi), before returning to Venice in 1540. He moved again to Treviso in 1542 and back to Venice in 1545. Finally he went back to Ancona in 1549. 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 | YouTube
Lorenzo Lotto | Portraits | Exhibitions | Showcase | He was one of the most original of all the Renaissance portrait painters. Instead of royalty, luminaries and emperors, Lorenzo Lotto painted ordinary men and women. And on some occasions, he even paid the poor to sit for him. And now, an exhibition in London brings together a collection of portraits that are giving viewers a unique glimpse of Italy in the 16th century. Showcase’s Miranda Atty went to see them for herself… | And to further explore the work of Lorenzo Lotto, Showcase is joined from London by the chief art critic for the Daily Telegraph, Mark Hudson | YouTube
video / film
Il genio di Lorenzo Lotto svelato da Antonio Paolucci | The genius of Lorenzo Lotto revealed by Paolucci | Musei Vaticani http://www.museivaticani.va/content/museivaticani/de.html | YouTube
Curator’s introduction | Lorenzo Lotto Portraits | National Gallery | London | https://www.nationalgallery.org.uk/ | Join Matthias Wivel, our curator of 16th-century Italian paintings and curator of Lorenzo Lotto Portraits, to find out more about the exhibition | Celebrated as one of the greatest portraitists of the Italian Renaissance, Lorenzo Lotto uniquely portrayed a cross section of middle-class sitters, among them clerics, merchants, and humanists. Lotto depicted men, women, and children in compositions rich in symbolism and imbued with great psychological depth. The prominent addition of objects which hinted at the social status, interests, and aspirations of his subjects added meaning to each work. With the inclusion of documents that have survived from Lotto’s own account books, this exhibition – the first of its kind in the UK – provides extraordinary insight into the artist’s individualistic style and the people he portrayed | Exhibition organised by the National Gallery and the Museo Nacional del Prado, Madrid | YouTube