All LOTTO, Lorenzo 's Paintings
The Painting Names Are Sorted From A to Z

Choice ID Image  Paintings (From A to Z)       Details 
8006 Allegory edti  Allegory edti   1505 Oil on wood, 56,5 x 43,2 cm National Gallery of Art, Washington
8005 Bishop Bernardo de' Rossi  Bishop Bernardo de' Rossi   1505 Oil on wood, 54 x 41 cm Museo Nazionale di Capodimonte, Naples
8007 Head of a Young Man g  Head of a Young Man g   c. 1505 Oil on wood, 28 x 23 cm Galleria degli Uffizi, Florence
40345 Lucretia  Lucretia   mk156 1530-32 Oil on canvas 96.5x110.6cm
8008 Madonna and Child with Saints  Madonna and Child with Saints   c. 1506 Oil on wood, 83 x 105 cm National Gallery of Scotland, Edinburgh
8010 Penitent St Jerome sg  Penitent St Jerome sg   1506 Oil on wood, 48 x 40 cm Mus??e du Louvre, Paris
8012 Portrait of a Man af  Portrait of a Man af   1506-10 Oil on wood, 42,3 x 35,8 cm Kunsthistorisches Museum, Vienna
8009 Portrait of a Woman sg  Portrait of a Woman sg   c. 1506 Oil on wood, 36 x 28 cm Mus??e des Beaux-Arts, Dijon
8011 The Mystic Marriage of St. Catherine sg  The Mystic Marriage of St. Catherine sg   1506-07 Oil on wood, 70 x 90 cm Alte Pinakothek, Munich
43044 The Virgin and Child with Saint Jerome and Saint Nicholas of Tolentino  The Virgin and Child with Saint Jerome and Saint Nicholas of Tolentino   mk170 1522 Oil on canvas 89.5x74.3cm

LOTTO, Lorenzo
Italian High Renaissance Painter, ca.1480-1556 Italian painter and draughtsman. He had a long and often prosperous career as a painter, and, although he travelled widely, his style retained a close affinity with the paintings of his native Venice. He was one of an outstanding generation of painters, including Giorgione, Titian, Palma Vecchio and Pordenone, who appeared in Venice and the Veneto during the first decade of the 16th century. In comparison with his contemporaries, Lotto was a fairly traditional painter in that he worked primarily in the long-established genres of altarpieces, devotional pictures and portraiture. Such paintings were popular in the Venetian provinces and the Marches where Lotto spent much of his career and where he often received more money for his commissions than he could obtain in Venice. His most important commissions were for altarpieces, and he is perhaps best known for a series of sacre conversazioni in which he skilfully varied the symmetrical groupings of figures found in earlier Venetian treatments of the subject by Giovanni Bellini and Alvise Vivarini. Precedents in Venice were also important for Lotto's early efforts in bust-length portraiture, but from 1525 he made a considerable contribution to the development of the three-quarter-length portrait. He painted many private devotional paintings but only a few of the historical, mythological or allegorical scenes that were popular in northern Italy in this period. Lotto is one of the best-documented painters of the 16th century: 40 autograph letters dating from 1524 to 1539,

China Oil Painting Studio Team