Lorenzo Lotto was an Italian Renaissance 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.
Alessandro Bonvicino, more commonly known as Moretto, or in Italian Il Moretto da Brescia, was an Italian Renaissance painter from Brescia, where he also mostly worked. His dated works span the period from 1524 to 1554, but he was already described as a master in 1516. He was mainly a painter of altarpieces that tend towards sedateness, mostly for churches in and around Brescia, but also in Bergamo, Milan, Verona, and Asola; many remain in the churches they were painted for. The majority of these are on canvas, but a considerable number, including some large pieces, are created on wood panels. There are only a few surviving drawings from the artist.
Giovanni Girolamo Savoldo, also called Girolamo da Brescia, was an Italian High Renaissance painter active mostly in Venice, although he also worked in other cities in northern Italy. He is noted for his subtle use of color and chiaroscuro, and for the sober realism of his works, which are mostly religious subjects, with a few portraits. His portraits are given interest by their accessories or settings; "some even look like extracts from larger narratives".
Altobello Melone was an Italian painter of the Renaissance.
The Pinacoteca Tosio Martinengo is a public art museum in Brescia, Lombardy, Italy.
Christ Blessing is an oil on wood painting by the Italian Renaissance artist Raphael, executed c. 1500–1504. Since 1851, it is located in the Pinacoteca Tosio Martinengo, Brescia, Italy.
The church of Santa Maria dei Miracoli is located on Corso Martiri della Libertà in Brescia.
The church of Santa Maria delle Grazie in Brescia is located on at the west end of Via Elia Capriolo, where it intersects with the Via delle Grazie. Built in the 16th century and remodeled in the 17th century, it still retains much of its artwork by major regional artists, including one of its three canvases by Moretto. The other two are now held at the Pinacoteca Tosio Martinengo. The interior is richly decorated in Baroque fashion. Adjacent to the church is the Sanctuary of Santa Maria delle Grazie, a neo-gothic work.
Salomé is an oil painting on canvas, by Moretto da Brescia, executed c. 1540. It is kept in the collection of the Pinacoteca Tosio Martinengo in Brescia.
Portrait of an Old Man with Gloves is an oil-on-canvas painting by the Italian High Renaissance artist Lorenzo Lotto. It is assigned a date c.1543 on the basis of stylistic similarities with Portrait of Febo da Brescia, Portrait of a Thirty-Seven-Year-Old Gentleman and other works produced by the artist in the mid 1540s. Its final private owner was count Castellane Harrach of Turin, from whose collection it entered the Pinacoteca di Brera in Milan in 1859, where it still hangs.
Portrait of Febo da Brescia is an oil-on-canvas painting created in 1543–44 by the Italian High Renaissance artist Lorenzo Lotto. It is identified with the commission mentioned in the artist's account books in April 1543 from Febo Bettignoli da Brescia, a nobleman from Treviso, for paintings of himself and his wife, which were delivered in 1544. After Febo's death in 1547 both paintings passed to his wife's heirs and remained with them until her family died out in the 19th century. In 1859, via the painter Francesco Hayez, the Pinacoteca di Brera in Milan acquired the portraits.
Portrait of Laura da Pola is an oil-on-canvas painting created in 1543–44 by the Italian artist Lorenzo Lotto. Its subject was the wife of Febo Bettignoli da Brescia, a nobleman from Treviso, who commissioned this work and its pair from Lotto in April 1543, as recorded in the painter's account books. The paintings were delivered in 1544 and after Febo's death in 1547 remained with his wife's descendants until her family died out in the 19th century. Both works were acquired in 1859 by the Pinacoteca di Brera, where they still hang
Annunciation is a 1535–1540 oil on panel painting by Moretto da Brescia, now in the Pinacoteca Tosio Martinengo in Brescia, having been left to the city collection by count Paolo Tosio in 1832 – no previous owners are known. Its small dimensions mean it was probably painted for a home or clergy house rather than a church. Several replicas and copies are known, some of which are now lost.
The Sant'Eufemia Altarpiece is a 1526-1530 oil on panel painting by Moretto da Brescia, originally on the high altar of Sant'Afra in Brescia and now in the Pinacoteca Tosio Martinengo in the town. The Sant'Afra Reliquary was also based on the painting. The painting's lower register shows saints Benedict of Nursia, Euphemia, Justina and Paterius.
Portrait of a Gentleman with a Letter is a 1535–1540 painting by Moretto da Brescia, now in the Pinacoteca Tosio Martinengo in Brescia, to which it was given in 1854. No record of it before that dates survives, though some art historians have identified it with a lost Portrait of Pietro Aretino recorded in correspondence.
The Holy Cross Standard is a 1520-1521 oil on canvas painting by Moretto da Brescia, commissioned by the Brescia's city council for the Company of the Guardians of the Holy Cross, guardians of the Sante Croci treasury at the city's Old Cathedral. It is now in the Pinacoteca Tosio Martinengo in the city.
Saint George and the Princess is a late 15th century tempera on panel painting, attributed to Antonio Cicognara and now in the Pinacoteca Tosio Martinengo in Brescia.
Adoration of the Shepherds is a c. 1540 oil on canvas painting by Giovanni Girolamo Savoldo, now in the Pinacoteca Tosio Martinengo in Brescia. It was one of the painter's last works and he also produced variants on it, including one in San Giobbe in Venice.
The Bergamasque and Brescian Renaissance is one of the main variations of Renaissance art in Italy. The importance of the two cities on the art scene only expanded from the 16th century onward, when foreign and local artists gave rise to an original synthesis of Lombard and Venetian modes, due in part to the two cities' particular geographical position: the last outpost of the Serenissima on the mainland for Bergamo and a disputed territory between Milan and Venice for Brescia.
