Lorenzo Lotto (1480-1557) Volume One - A collection of paintings 4K UltraHD

Lorenzo Lotto (c. 1480 - 1557) 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.
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