Lorenzo Lotto Galleries
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 en Jesi), 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 :
Santa Lucia before the Judge, 1532, Jesi, Pinacoteca comunale
The Sleeping Child Jesus with the Madonna, St. Joseph and St. Catherine of Alexandria, 1533, Bergamo, Accademia Carrara
Portrait of a Lady as Lucretia, 1533, National Gallery, London.
Holy Family with SS Jerome, Anna and Joachim, 1534, Firenze, Uffizi
Holy Family, ca 1537, Paris, Louvre
Portrait of a Young Man, Firenze, Uffizi
Crucifixion, Monte San Giusto, Church of S Maria in Telusiano
Rosary Madonna, 1539, Cingoli, Church of San Nicolo
Portrait of a Man, 1541, Ottawa, National Gallery of Canada
Bust of a Bearded Man, 1541, ascribed, San Francisco, Fine Arts Museum
The Alms of Saint Anthony, 1542, Venezia, church SS Giovanni e Paolo
Madonna and four Saints, 1546, Venezia, Church of San Giacomo dell??Orio
Portrait of fra?? Gregorio Belo da Vicenza, 1548,New York, Metropolitan Museum
Assumption, 1550, Ancona, church San Francesco alle Scale
The Crossbowman, 1551, Rome, Pinacoteca Capitolina
Portrait of an Old man, ascribed, ca 1552, Saint Petersburg, Ermitage
Presentation in the Temple, 1555, Loreto, Palazzo Apostolico
A Venetian woman in the guise of Lucretia (1533).At the end of his life it was becoming increasingly difficult for him to earn a living. Furthermore, in 1550 one of his works had an unsuccessful auction in Ancona. As recorded in his personal account book, this deeply disillusioned him. As he had always been a deeply religious man, he entered in 1552 the Holy Sanctuary at Loreto, becoming a lay brother. During that time he decorated the basilica of S Maria and painted a Presentation in the Temple for the Palazzo Apostolico in Loreto. He died in 1556 and was buried, at his request, in a Dominican habit.
Giorgio Vasari included Lotto's biography in the third volume of his book Vite. Lorenzo Lotto himself left many letters and a detailed notebook (Libro di spese diverse, 1538-1556), giving a certain insight in his life and work. Among the many painters he influenced are likely Giovanni Busi Related Paintings of Lorenzo Lotto :. | Portrait of a Man | Madonna with Child between Sts Flavian and Onuphrius | Sts Catherine of Siena and Sigismund | Madonna and Child with Sts Dominic | Penitent St Jerome |
Related Artists:Hills, Anna Althea
American Painter, 1882-1930Friedrich Gauermann
(September 10, 1807 - July 7, 1862), Austrian painter, son of the landscape painter Jacob Gauermann (1773 - 1843), was born at Miesenbach near Gutenstein in Lower Austria.
It was the intention of his father that he should devote himself to agriculture, but the example of an elder brother, who, however, died early, fostered his inclination towards art. Under his father's direction he began studies in landscape, and he also diligently copied the works of the chief masters in animal painting which were contained in the academy and court library of Vienna. In the summer he made art tours in the districts of Styria, Tirol, and Salzburg.
Two animal pieces which he exhibited at the Vienna Exhibition of 1824 were regarded as remarkable productions for his years, and led to his receiving commissions in 1825 and 1826 from Prince Metternich and Caraman, the French ambassador. His reputation was greatly increased by his picture "The Storm," exhibited in 1829, and from that time his works were much sought after and obtained correspondingly high prices. His "Field Labourer" was regarded by many as the most noteworthy picture in the Vienna exhibition of 1834, and his numerous animal pieces have entitled him to a place in the first rank of painters of that class of subjects.
The peculiarity of his pictures is the representation of human and animal figures in connexion with appropriate landscapes and in characteristic situations so as to manifest nature as a living whole, and he particularly excels in depicting the free life of animals in wild mountain scenery. Along with great mastery of the technicalities of his art, his works exhibit patient and keen observation, free and correct handling of details, and bold and clear colouring. He died at Vienna on the 7th of July 1862.
Many of his pictures have been engraved, and after his death a selection of fifty-three of his works was prepared for this purpose by the Austrian Kunstverein (Art Union).
Pieter de Kempener
Pedro Campana (1503-1586) was a Flemish painter of the Renaissance period, mainly active in Italy and Spain. His actual name was Pieter de Kempeneer, translated into French as Champaigne, and was also known as Peter Van de Velde.
Born in Brussels, he trained there with Bernard Van Orley. His early life appears to have been spent in Italy, where he carefully studied the paintings of Raphael, and declared himself as his pupil. In 1530 he was at work at some scene-painting, representing a triumphal arch to be erected on the occasion of the coronation of Charles V, Holy Roman Emperor in Bologna, and he then left for Spain, on the advice, it is said, of Cardinal Domenico Grimani, and spent the rest of his life in that country, only returning to Brussels about 1563 or 1565.
Between 1537 and 1562 he was associated with Luis de Vargas and the Italian sculptor Torregiano in establishing a school of painting in Seville, which eventually became the academy of the place; amongst the pupils educated in it was Morales. He painted for the monastery of St. Mary of Grace, Church of Santa Cruz, in the city, an altar-piece representing the Descent from the Cross (1548), which is now in the cathedral, having been removed there when the church fell into ruins. There are other works by the same painter in Seville Cathedral, especially two representing the Purification of the Virgin and the Resurrection; and the various churches of the city, S. Isidoro, S. Pedro, S. Catalina, and S. Juan, all possess paintings by this artist. One of his last works was the restoration and repainting of a chapel belonging to Hernando de Jaen, an important resident of Seville. Murillo requested that he be buried near Campana's picture, and his burial took place in the Church of Santa Cruz, close underneath the Descent from the Cross, but the whole building was burned to the ground during the Napoleonic Wars, and the tomb perished.