Lorenzo Lotto. 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, and, after his death, he gradually became neglected and then almost forgotten.
This oblivion could be attributed to the fact that his works now remain in lesser known churches or in provincial museums. Born in Venice, he worked in Treviso; in the Marches; in Rome; in Bergamo; in Venice; in Ancona and finally, as a Franciscan lay brother, in Loreto.
Little is known of his training. As a Venetian he was influenced by Giovanni Bellini as he had a good knowledge o
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, and, after his death, he gradually became neglected and then almost forgotten.
This oblivion could be attributed to the fact that his works now remain in lesser known churches or in provincial museums. Born in Venice, he worked in Treviso; in the Marches; in Rome; in Bergamo; in Venice; in Ancona and finally, as a Franciscan lay brother, in Loreto.
Little is known of his training. As a Venetian he was influenced by Giovanni Bellini as he had a good knowledge o
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