Lorenzo Lotto

from Wikipedia, the free encyclopedia
Signature of Lorenzo Lotto from 1521 on the picture Christ takes leave of his mother , Gemäldegalerie , Berlin

Lorenzo Lotto (* 1480 in Venice , † before July 1557 in Loreto ) was an important Italian painter of the High Renaissance and early Mannerism .

Life

Madonna Enthroned with Child and Saints ( Pala di San Bernardino ), 287 × 268 cm, San Bernardino in Pignolo, Bergamo, 1521

Nothing is known about Lorenzo Lotto's youth and education. His father was called Tommaso Lotto. Especially in his early works, Lorenzo shows himself to be influenced by the painting of Giovanni Bellini (1430–1516), and also by Albrecht Dürer , who stayed in Venice 1494–95 and 1505, and from whom he probably knew more than just engravings .

The first known document in which Lotto's name is mentioned dates from June 10, 1503, when he was living in Treviso , Veneto . His most important patron in this city was the Bishop Bernardo de 'Rossi, of whom he also painted an important portrait in 1505 . He had already gained an excellent reputation and was referred to in a document from 1505 as " pictor celeberrimus " (very famous painter). Lotto got his first public contract through de 'Rossi, the Pala di Santa Cristina for the main altar of the parish church of the town of the same name near Treviso.

In 1506 the painter went to Recanati in the Marche to create a large polyptych for the Church of San Domenico , which he completed two years later (today in the Pinacoteca Civica, Recanati).

There is evidence that he was in Rome in 1509 , where he was probably involved in the decorations of the papal palace together with Sodoma and Bramantino and came into contact with Raphael , who, however, only exerted a sporadic influence on him. Of this u. a. a burial of Christ dated 1512 , which is now in Jesi (Pinacoteca Civica), and is not one of his best works.

Young man at a desk , 98 × 111 cm, Accademia , Venice, ca.1530

After a presumed stay in the Marche, Lotto lived in Bergamo from 1512 or 1513 until the end of 1525 . This time is considered to be a particularly fruitful phase of his life artistically, not only quantitatively but also qualitatively. The first commission that probably drew the painter to Bergamo at all was the large Pala Martinengo for the Church of Santi Stefano e Domenico (today in San Bartolomeo), which he painted for Alessandro Martinengo Colleoni, a son of the famous Condottiere Bartolomeo Colleoni ; the pala is over 5 m high. Lotto soon enjoyed great popularity as a portraitist in the Lombard city and received numerous other commissions, both private and for churches in the city. Among the most important are the Pala for San Bernardino, completed in 1521, and the Pala di Santo Spirito , which are astonishingly different in conception and style. For Santa Maria Maggiore in Bergamo, Lotto also provided designs for inlays for the choir stalls until 1531 - an order that led to some problems and ultimately to a rift because he found himself underpaid.

End 1525 Lotto was in Venice, where he was first in the Dominican - Monastery Santi Giovanni e Paolo lived. During his Venetian years he was on friendly terms with Palma il Vecchio , Jacopo Sansovino and Sebastiano Serlio . Between 1527 and 1529 he wrote his apotheosis of St. Nicholas for the church of Santa Maria dei Carmini , which Lodovico Dolce criticized in 1557 for Lotto's stubborn use of colors and shadows. Outstanding among his Venetian portraits is the 1527 portrait of Andrea Odoni ( Royal Collection , Windsor Castle ), which shows Lotto's confrontation with Titian , but also with Correggio , in the softness of the coloring .

Pala di Santa Lucia ( Saint Lucia before the judge ), 243 × 237 cm, Pinacoteca Civica, Jesi , 1532

In Venice, Lotto also continued to work for clients in Bergamo and the Marche, including finishing the famous and dramatically moving altarpiece of St. Lucia in front of the judge for a chapel in the Church of San Floriano in Jesi (today: Pinacoteca Civica, Jesi) in 1532 ).
Although he was not very successful in Venice himself, he was involved in the circle of his painter colleagues: in 1531 he was elected by the guild together with Tizian and Bonifazio de 'Pitati to a twelve-person committee, which was responsible for distributing a considerable amount of money from the Vincenzo Catena's estate to destitute and needy members of the guild was responsible.

In 1533 the artist returned to Treviso, and then to the Marche, where he probably carried out commissions in various cities until 1539, including a crucifixion for the church of Santa Maria in Telusiano in Monte San Giusto . The famous Annunciation (Pinacoteca Civica, Recanati), an Adoration of the Shepherds (Pinacoteca Civica, Brescia ) and the Holy Family with Angels ( Louvre , Paris) are among the masterpieces of these years .

Between 1540 and October 1542 Lotto stayed in Venice to paint the altarpiece Alms of St. Antonino ordered years earlier for the Dominicans in Santi Giovanni e Paolo . He now lived with his cousin Mario d'Armano and his family, who apparently were toying with the Reformation , because Lotto painted the portraits of Martin Luther and Katharina von Bora for Mario (probably after engravings by Cranach ). It has been proven that Lotto also had contact with other sympathizers of the Reformation. He could not afford his own apartment in view of the unrestricted success of Titian and the Florentine mannerists Salviati and Vasari, who are now modern in the lagoon city . Lotto even had to borrow money from Sansovino. Therefore he tried his luck in Treviso from 1542 to 1545, but with little financial success.

Angel putti with rose petals, detail from the Rosary Madonna , Pinacoteca Civica, Cingoli , 1539

In 1545 he went back to Venice, where he constantly changed his place of residence in the following years and fell into melancholy because of too few commissions . In his will of 1546 he described himself as “... alone, without a loyal master and very restless in spirit” (“ sola, senza fedel governo et molto inquieto dela mente ”). In this situation he was humiliated by Pietro Aretino in an open letter in 1547 , in which he sang a song in praise of Titian, who had “surpassed Lotto in painting” - but Aretino still saw Lotto as a leader in religious images.

In 1549 he traveled to Ancona to paint a picture for the church of San Francesco alle Scale, but now had such great financial problems that he left six paintings to Sansovino to sell. When this did not succeed, Lotto tried to auction 16 of his pictures and 30 drawings himself, but was only able to sell 7 works for a low price. In addition, he had problems with employees.

In 1552, the now over 70-year-old retired to the monastery of the Santa Casa in Loreto , took his vows as an oblate in 1554 and, although his eyes had deteriorated, he continued to paint pictures for the monastery and portraits.

The exact time of his death is not known, Lorenzo Lotto died sometime before July 1557 in Loreto.

His account book ( Libro di spese diverse ) for the years from 1538 until his death has been preserved, also contains some personal remarks, and is today considered a valuable biographical document of the time.

Appearance

Detail from the life of St. Brigitta with self-portrait of Lotto (?) As a bird catcher (right), Trescore Balneario , 1523–24

1524 Lorenzo Lotto painted in the Oratory of Villa Battista Suardi in Trescore Balneario a fresco cycle with Christ and the life of St. Barbara, Brigitta, Katharina and Magdalena . Opposite the main picture, on the edge of a scene from the life of St. Brigitta, the painter is said to have left a (poorly preserved) self-portrait as a bird catcher with a bundle of rods on his shoulder and an owl next to it. The humorous detail of a urinating putto on the ceiling above could be understood as an alchemical puzzle and play on words , as he often used in his portraits: Because the term for urine in alchemy was “ lot ” - the putto thus indicates the painter's family name Lotto (he usually signed with “Lotus” or “Loto”, so only spelled the name with a “t”).

Self-portrait (?) Attributed to Lorenzo Lotto, Museo Thyssen Bornemisza , Madrid

In the Thyssen Bornemisza Collection in Madrid there has been an unsigned, i.e. anonymous , portrait of a man (inv. No. 230 (1977.73)) that appeared on the British antiques market in 1974 (see illustration) since 1977 . The person portrayed throws the viewer a “curious” look out of the corner of his right eye, and due to its asymmetrical proportions, the picture looks as if it had been cropped (at least) at the right edge. The painting was attributed to Lorenzo Lotto for stylistic reasons; In addition, Federico Zeri suspected that it might be a self-portrait due to the sitter's attitude. This portrait is published on numerous websites as the “Self-portrait of Lorenzo Lotto”, often without any indication that it is only an attribution (as of April 18, 2020).

Appreciation

"Lotto, come la bontà buono e come la virtù virtuoso ..."

"Lotto, kind as goodness and virtuous as virtue ..."

- Pietro Aretino : 1547

Lorenzo Lotto painted almost exclusively religious subjects, portraits and some allegorical pictures in oil on canvas; a rare exception is the painting Venus and Cupid (c. 1540) in the Metropolitan Museum of Art (New York). Some frescoes have also been preserved.

Mary with the Child and St. Catherine and James , 113.5 × 152 cm, Kunsthistorisches Museum, Vienna, ca.1528

His imaginative and formally diverse work is basically in the coloristic tradition of Venetian painting according to Giovanni Bellini and Vivarini. He also took up influences from Dürer and his Venetian contemporaries Giorgione , Palma il Vecchio and Tizian , but from the beginning showed very independent and later sometimes idiosyncratic traits. The fact that he mainly worked in Treviso, Bergamo and the Marche, in other words in the artistic “province”, gives him something of a loner or outsider .

His art follows the natural ideals of the High Renaissance, whose typical harmony and tranquility, however, he often breaks up with unusually moving motifs, such as B. in Madonna pictures through restless and unpredictable behavior of the baby Jesus , as is typical for small children. This and a virtuoso handling of light and shadow, which he often uses in an unusual way (half-lit faces, etc.), gives some of his compositions an immediacy like a snapshot and at the same time something mystical .

The agitation and (sometimes) restlessness of his pictorial inventions occasionally foreshadow Mannerism , although he remains stuck in his striving for naturalness, in dealing with proportions and perspective of the Renaissance. The “deep humanity” and modesty of his characters stand in a certain contrast to the more courtly , aristocratic ideals of his contemporaries Titian and Raphael . Some authors see in Lorenzo Lotto the painter with the deepest religiosity among the Venetian painters of the Cinquecento .

Rose petals and a miniature skull in the portrait of a man (Mercurio Bua?) , Galleria Borghese , Rome, ca.1535

A great love of nature is shown in poetic landscapes, with which he surrounds some religious and allegorical works of art in particular; there is also an apparent preference for rich green tones.

His portraits are among the best that was created in his time. They are naturalistic , even portraits of women (presumably) not embellished. At the same time, he is particularly inclined to symbolic and poetic allusions in his portraits , which give them a sometimes mystical or puzzling trait. A symbol that Lotto likes to use is rose petals, which indicate love or lost love. Some portraits have not yet been deciphered.

Picture gallery

(Selection)

  • Allegories and Religious Images

  • Allegory of virtue and vice (cover for portrait of Bernardo de 'Rossi), 56.5 × 42.2 cm, National Gallery of Art , Washington, 1505

  • Madonna and Child, a Holy Bishop and St. Onofrio , 53 × 67 cm, 1508, Galleria Borghese , Rome

  • Susanna in the bath , 66 × 51 cm, Uffizi Gallery , Florence, 1517

  • Madonna and Child with St. Jerome and Nicholas of Tolentino , 94.3 × 77.8 cm, Museum of Fine Arts , Boston, 1521

  • Annunciation and Visitation , Pinacoteca Civica (Palazzo Pianetti), Jesi , 1532

  • Christ and the adulteress , Louvre, Paris, around 1526 (?)

  • Adoration of the Shepherds , 147 × 166 cm, Pinacoteca Tosio Martinengo , Brescia, 1534

  • The Alms of St. Anthony , 332 × 235 cm, Santi Giovanni e Paolo , Venice, 1540–42

  • Presentation of Jesus in the temple , 172 × 136.5 cm, Museo della Santa Casa di Loreto , 1552–1556

  • Frescoes

  • Legend of St. Brigitta (detail with the family of the founder ), fresco, Trescore Balneario , 1524

  • Detail from Legend of St. Barbara , fresco, Trescore Balneario, 1524

  • Birth of Mary and God the Father blessing , detail of the frescoes in San Michele al Pozzo Bianco, Bergamo , 1525

List of works (selection)

Pietà , 80 × 108 cm, detail of the Recanati polyptych , 1506-08
Mary with the Child and Saints , 227 × 108 cm, main panel of the Recanati polyptych , Pinacoteca Civica, Recanati , 1506-08
Christ on the way to Golgotha , 66 × 60 cm, Louvre , Paris, 1526
  • 1525 cycle of frescoes Life of the Virgin Mary in the Church of San Michele al Pozzo Bianco, Bergamo
  • c. 1525 Polyptych from Ponteranica , Church of Santi Vincenzo e Alessandro, Ponteranica
  • 1526 Christ on the way to Golgotha ( Cristo portacroce ), Louvre , Paris
  • around 1526 Christ and the adulteress , Louvre, Paris
  • 1526 Pala of San Francesco al Monte , Pinacoteca Civica (Palazzo Pianetti), Jesi
  • 1525–1535 A goldsmith in three views , Kunsthistorisches Museum, Vienna
  • 1527 Andrea Odoni , Royal Collection , Windsor Castle
  • c. 1527 The man with the animal paw , Kunsthistorisches Museum, Vienna
  • 1527–29 Apotheosis of St. Nicholas , Santa Maria dei Carmini , Venice
  • c. 1530 Young man at a desk , Accademia , Venice
  • 1532 Santa Lucia before the judge , Pinacoteca Civica (Palazzo Pianetti), Jesi
  • 1532 Annunciation and Visitation , Pinacoteca Civica (Palazzo Pianetti), Jesi
  • 1527–1533 Mary with Child and St. Catherine and James, Kunsthistorisches Museum, Vienna
  • circa 1534 Annunciation , Pinacoteca Civica, Recanati
  • circa 1534 Adoration of the Shepherds , Pinacoteca Tosio Martinengo , Brescia
  • circa 1535 Portrait of a Man , Galleria Borghese , Rome
  • 1536 Holy Family with Angels , Louvre, Paris
  • 1539 Madonna of the Rosary , Pinacoteca Civica, Cingoli
  • circa 1540 Venus and Cupid , Metropolitan Museum of Art , New York
  • 1542 The Alms of St. Anthony , Santi Giovanni e Paolo , Venice
  • 1543–44 Portrait of Laura Pola , Pinacoteca di Brera , Milan
  • 1543–44 Portrait of Febo da Brescia , Pinacoteca di Brera, Milan
  • 1552–1556 Presentation of Jesus in the temple , Museo della Santa Casa di Loreto

Exhibitions

  • 1953 Doge's Palace, Venice
  • 1997–99 Traveling exhibition: Bergamo - Paris - Washington
  • 2018–19 Traveling exhibition: Museo del Prado , Madrid - National Gallery , London - Museo Civico (Palazzo Buonaccorsi), Macerata

See also

literature

  • Lotto, Lorenzo , in: Lexikon der Kunst , Vol. 7, Karl Müller Verlag, Erlangen, 1994, pp. 324-325
  • Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004 (Italian)
  • Giovanni Carlo Federico Villa (a cura di): Lorenzo Lotto. Exhibition in the Palazzo del Quirinale (Rome), Silvna, Milano 2011, ISBN 978-8-836-61952-8 . (311 p.)
  • Mauro Zanchi: Images of the Bible by Lorenzo Lotto , Bergamo 2006, ISBN 888942818X
  • David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457

Web links

Commons : Lorenzo Lotto  - Collection of Images, Videos and Audio Files

Individual evidence

  1. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 11 and 30
  2. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 29
  3. ↑ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 11, 30 (Bellini, Vivarini) and pp. 35–36 (Dürer)
  4. ↑ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 30 f
  5. ↑ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 31-34
  6. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 31
  7. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 34 and 76
  8. ↑ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 36
  9. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 36 & 39
  10. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 98f
  11. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 14 and 18
  12. ↑ a b Lotto, Lorenzo , in: Lexikon der Kunst , Vol. 7, Karl Müller Verlag, Erlangen, 1994, pp. 324-325, here: 324
  13. ↑ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 40 (above) and 41
  14. ↑ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 39-40
  15. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 41
  16. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 44-50
  17. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 18 and 52
  18. ↑ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 53 and 134 f
  19. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 53 and 138 f.
  20. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 52–53 and 146.
  21. ^ David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457, here: 410
  22. ↑ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 55, 154 f, 156 f, 160 f.
  23. ^ A b Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 56 f.
  24. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 69 and 71.
  25. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 71.
  26. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 56.
  27. ↑ a b c Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 58.
  28. ^ A b Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 59.
  29. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 26, 59 and 61.
  30. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 61.
  31. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 55 f.
  32. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 45, 47, 67-68, 124-125.
  33. ↑ a b c Article on the picture on the website of the Museo Thyssen Bornemisza (English; accessed on April 18, 2020)
  34. ↑ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 7 and 58.
  35. ↑ Examples: Madonna with Child and Saints , c. 1505, National Gallery of Scotland , Edinburgh; Madonna and Child, a Holy Bishop and St. Onofrio , 1508, Galleria Borghese , Rome; Pala Martinengo , 1513-16, San Bartolomeo, Bergamo ; Pala of San Francesco al Monte , 1526, Pinacoteca Civica, Jesi ; Maria with Child and St. Catherine and Thomas , approx. 1528, Kunsthistorisches Museum, Vienna; Rosary Madonna , 1539, Pinacoteca Civica, Cingoli ; u. a.
  36. ↑ Examples: Madonna Enthroned with Child and Saints ( Pala di San Bernardino ), 1521, San Bernardino in Pignolo, Bergamo; Portrait of a Young Man, c. 1526, Castello Sforzesco, Milan; Maria with child and St. Catherine and Thomas , approx. 1528, Kunsthistorisches Museum, Vienna a. a.
  37. ↑ a b Lotto, Lorenzo , in: Lexikon der Kunst , Vol. 7, Karl Müller Verlag, Erlangen, 1994, pp. 324-325, here: 325
  38. ↑ In this sense the following can be regarded as mannerist: The mystical marriage of St. Catherine of Alexandria (and the founder Niccolò Bonghi) , 1523, Accademia Carrara , Bergamo; Madonna with Child and Saints ( Mystical Wedding of St. Catherine ), 1524, Galleria Nazionale d'Arte Antica , Rome; Holy Family with St. Catherine of Alexandria , 1533, Accademia Carrara , Bergamo; The Annunciation , ca.1534, Pinacoteca Civica, Recanati .
  39. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 9.
  40. ↑ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 8 and 9.
  41. ↑ z. B. Berenson (1955) and Band (1953). Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 8.
  42. ↑ Examples: Madonna and Child and Saints , 1505, National Gallery of Scotland , Edinburgh; Pala von Asolo (Maria Assunta and two saints), 1506, cathedral, Asolo ; Apotheosis of St. Nicholas , 1527–29, Santa Maria dei Carmini , Venice; Maria with Child and St. Catherine and Thomas , approx. 1528, Kunsthistorisches Museum, Vienna; Holy Family with Angels , ca.1536, Louvre, Paris
  43. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 62, 64, 67f
  44. ↑ z. For example: Portrait of a Man , c. 1535, Galleria Borghese , Rome; The man with the animal paw , Kunsthistorisches Museum, Vienna; Young man at a desk , ca.1530, Accademia , Venice.
  45. ↑ Examples: Young man at a desk , approx. 1530, Accademia , Venice; Rosary Madonna , 1539; Venus and Cupid , 1540.
  46. ↑ A large part of the background was cut out at an unknown point in time and, together with other parts, a large area was painted over with gray and black paint. The original condition can no longer be reconstructed and cannot be assessed. Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, pp. 114–115.
  47. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 9
  48. ^ Roberto D'Adda, Rodolfo Pallucchini: Lotto ( I classici dell'Arte ), Rizzoli / Skira / Corriere della Sera, Milan, 2004, p. 62
  49. ↑ [1] (Italian; accessed on April 21, 2020)
  50. ↑ Andreas Kilb, FAZ
personal data
SURNAME Lotto, Lorenzo
BRIEF DESCRIPTION Italian painter of the High Renaissance
DATE OF BIRTH 1480
PLACE OF BIRTH Venice
DATE OF DEATH before July 1557
Place of death Loreto