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.
The Pinacoteca di Brera is the main public gallery for paintings in Milan, Italy. It contains one of the foremost collections of Italian paintings from the thirteenth to the twentieth century, an outgrowth of the cultural program of the Brera Academy, which shares the site in the Palazzo Brera.
Giacomo Benevelli was an Italian and French sculptor. He was brought up in France. He lived and studied in Nice, Paris, Rome, Aix-en-Provence, Munich. He mainly lived and worked for over forty years in Milan.
The Pinacoteca del Castello Sforzesco is an art gallery in the museum complex of the Castello Sforzesco in Milan, northern Italy.
Ludovico Dondi was an Italian painter active in Mantua. He is called il Mantovano in 1840 by Romanelli. Garollo calls him Luigi Dondi. He is known for the copies he made of Andrea Mantegna's Triumphs of Caesar.
Francesco Verla was an Italian painter of the Renaissance period, active in Northern Italy.
The Allegory of Vice is an oil on canvas painting by Correggio dating to around 1531 and measuring 149 by 88 cm.
The Allegory of Virtue is an oil on canvas painting by Correggio dating to around 1531 and measuring 149 by 88 cm. It and Allegory of Vice were painted as a pair for the studiolo of Isabella d'Este, with Vice probably the second of the two to be completed. This hypothesis is since only one sketch survives for Vice, unlike Virtue, for which two preparatory studies survive, along with a near-complete oil sketch - this suggests Correggio had become more proficient after the difficult gestation of Virtue.
The Madonna of the Caves is a tempera on panel painting measuring 32 cm 29.6 cm. It was painted in 1488-1490 by the Italian painter Andrea Mantegna and is now in the Uffizi Gallery in Florence.
The Madonna with Sleeping Child is a glue-tempera on canvas painting measuring 43 cm by 32 cm. It was painted around 1465-1470 by Andrea Mantegna and is now in the Gemäldegalerie in Berlin.
The Altman Madonna or 'Holy Family with St Mary Magdalene is a glue-tempera and gold on canvas painting, measuring 57.2 by 45.7 cm and dating to 1495-1505. Painted by Andrea Mantegna, it is now in the Metropolitan Museum of Art in New York.
The Butler Madonna or Madonna and Child with Cherubim and Seraphim is a tempera on panel painting measuring 44.1 by 28.6 cm. It is attributed to Andrea Mantegna, dated to around 1460. Its poor conservation, including over-harsh restoration to Mary's face, means that some art historians cannot accept it as an autograph work and theorise that it was produced by a follower of Mantegna after an autograph original. Its provenance is unknown before 1891, when it appeared for sale at a London art dealer. It was purchased by Charles Butler, from whom it passed to the Metropolitan Museum of Art in New York in 1926, where it still hangs.
The Poldi Pezzoli Madonna or Madonna with the Sleeping Christ Child is a tempera on canvas painting by Andrea Mantegna, dating to around 1490-1500, after the painter's trip to Rome. It was bought from Giovanni Morelli's collection by Gian Giacomo Poldi Pezzoli shortly after the 1850s and is now in the Museo Poldi Pezzoli in Milan. It was restored in 1863 by Giuseppe Molteni, who added the varnish which has now yellowed.
The Pesaro Altarpiece is an oil on panel painting by Giovanni Bellini, dated to some time between 1471 and 1483. It is considered one of Bellini's first mature works, though there are doubts on its dating and on who commissioned it. The work's technique is not only an early use of oils but also of blue smalt, a by-product of the glass industry. It had already been used in the Low Countries in Bouts' 1455 The Entombment, but this marked smalt's first use in Italian art, twenty years before Leonardo da Vinci used it in Ludovico il Moro's apartments in Milan in 1492. Bellini also uses the more traditional lapis lazuli and azurite for other blues in the work.
Descent into Limbo is a 1492 tempera and gold on panel painting by Andrea Mantegna, now in the Barbara Piasecka Johnson Collection in Princeton, New Jersey. It depicts the Descent into Limbo of Jesus Christ. There are also drawings of the subject by Mantegna in the École Supérieure des Beaux-Arts in Paris, whilst Giovanni Bellini also painted the subject.
Samson and Delilah is a circa 1495-1500 glue tempera on canvas painting by Andrea Mantegna, now in the National Gallery, London.
Judith with the Head of Holofernes is a c. 1495 glue tempera on canvas painting by Andrea Mantegna, now in the National Gallery of Ireland in Dublin. It is in the grisaille style.
Occasio and Poenitentia is a c.1500 grisaille fresco by Andrea Mantegna or his school. It is now displayed in the Palazzo San Sebastiano in Mantua after a long period over a fireplace in the Palazzo Cavriani. It was on display in Mantua's Palazzo Ducale from 1915 to 2002.
Judgement of Solomon is a tempera on canvas painting of the Judgement of Solomon attributed to Andrea Mantegna and his collaborators. Dating to around c.1495, the painting is now in the Louvre,
The 'Lochis Madonna is a tempera and gold on panel painting by Carlo Crivelli, executed c. 1475, and signed OPVS CAROLI CRIVELLI VENETI. It is now in the Accademia Carrara in Bergamo, which it entered in 1866 from Guglielmo Lochis' collection - its previous history is unknown.
