Lorenzo Lotto was born in Venice in 1480 and spent his childhood and youth in this city. His biography is very interesting. In Venice, he received an initial art education: Vasari writes that Lotto, “imitating some time Bellini’s manner, later joined the manner of Giorgione.” Researchers of Lotto’s creativity, however, suggest that he was a student of Alvise Vivarini, finding the similarity of the manner of the two artists in the early works of the first. But Bellini, as the most famous and significant Venetian painter, influenced Lorenzo Lotto.
The young artist was also able to get acquainted with the achievements of contemporary northern paintings: in Venice in 1494-1495 (possibly) and 1506-1507 there was Durer, and engravings of the German artist were widely distributed and south of the Alps. Unable to compromise in both creativity and spirituality, painter Lorenzo Lotto lived a hectic life and often experienced material difficulties.
Not adjusting to the prevailing tastes, Lotto traveled in search of customers who could understand and appreciate his work. Reconstruction of the biography and the creative path of Lorenzo Lotto are based on his correspondence, especially relating to the period of his stay in Bergamo, and the Libro di spese variety – records of the arrivals and expenses and the register of his paintings compiled by the artist himself.
The creativity of Lorenzo LottoOrder now
Perhaps, from Durer Lotto adopted a realistic image of the details, a really good work and, at the same time, the pathos of fantastic visions. Bright light, radiant colors, clear contours in the works of Lorenzo Lotto – the characteristic features of northern paintings.
The style of artists such as Cima da Conegliano was much closer to Lorenzo Lotto than the drawings of Giorgione, Bellini and his disciples with soft light enveloping the contours. The portrait of the bishop, executed by Lorenzo Lotto in 1505, anticipates with his “acute psychologist a portrait of the future.”
For the portrait of de Rossi Lotto created a “cover” – a complex allegory work similar to the “Allegory of Chastity,” also written around 1505, an artwork full of mysterious symbols. Having acquired a considerable reputation for several years, the artist was invited in 1506 in Mark by the Dominican Recanati. With this monastic order, he kept in touch until the end of his days. âThe angel of the Annunciationâ and âPortrait of a bearded man (Giorgione Barbarelli)â is also very famous works.
In 1508, Lotto completed a large altarpiece for the church of San Domenico in Recanati (now stored in the City Pinakothek). The work completes the cycle of the first works of Lotto; the artist became a mature, fully established master.
After a brief period of success, he was forgotten, and in Venice, he was ridiculed. At the end of the XIX century (1895) Lotto was re-opened for the general public by art critic Bernard Berenson. Â In Berenson’s opinion: “To understand the sixteenth century, it is as important to know Lotto as to how to recognize Titian.” Lotto signed many of his famous paintings and dated them.
Portrait of a woman
Lorenzo Lotto â âPortrait of a womanâ in the image of Lucretia is represented in the British National Gallery (National Gallery, London). Features of making reproductions on canvas are a long process. The finished artwork conveys all the colors, colors and colors of the original. Do not confuse such products with copies of famous masterpieces. In the process of reconstruction, imitation of smears with colors or a stroke of a pencil is transmitted. The painting on the canvas conveys all the nuances of the original on a given scale. Buy reproduction Lorenzo Lotto – Portrait of a lady with a drawing of Lucretia is a unique artwork for every taste. Reproduction is famous paintings on canvas, printed using eco-solvent printing technology with an ideal transfer of color and tone of the original. She is beautiful as a gift at a budget price not only in the family circle but also for business partners, colleagues, and friends.
Christ and the adulteress
Adultery stands in the foreground, on the left side of the picture âChrist and the adulteress,â surrounded by a multitude of figures carved into two-thirds of the figure on a dark background depicted on its disassembled gesture. There are those who counted the number of sins that refer to Heaven and its laws, only those who are older than others and ask for silence. In the middle stands the solemn and impressive figure of Christ, which seems to protect the woman with a raised hand, and his left-hand expresses the opposite sign of blessing, fingers pointing down. Various manipulations have affected the quality of the original painting, which is seen as a later replica of the same subject in the Louvre.
Christ carrying the cross
There is much in common with the artwork of the Descent of Christ to hell on the picture âChrist carrying the cross,â in the first place is the monumentality of the figures, the brightness, and expressiveness of color. Perhaps the canvas was created at the same time as the Descent of Christ into hell, commissioned by don Geronimo Vic-i-Walter – the ambassador of King Ferdinand II of the Catholic and Emperor Charles V in Rome. The ambassador took with him both drawings, returning to Valencia.