Antonio Allegri da Correggio, usually known as just Correggio, was the foremost painter of the Parma school of the High Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the sixteenth century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Baroque art of the seventeenth century and the Rococo art of the eighteenth century. He is considered a master of chiaroscuro.
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.
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. Most are on canvas, but a number even of large ones are on wood panel. Only a handful of drawings survive.
Giovanni Battista Cima, also called Cima da Conegliano, was an Italian Renaissance painter, who mostly worked in Venice. He can be considered part of the Venetian school, though he was also influenced by Antonello da Messina, in the emphasis he gives to landscape backgrounds and the tranquil atmosphere of his works. Once formed his style did not change greatly. He mostly painted religious subjects, often on a small scale for homes rather than churches, but also a few, mostly small, mythological ones.
Giampietrino, probably Giovanni Pietro Rizzoli, was a north Italian painter of the Lombard school and Leonardo's circle, succinctly characterized by Sidney J. Freedberg as an "exploiter of Leonardo's repertory."
The Pinacoteca Nazionale is a national museum in Siena, Tuscany, Italy. Inaugurated in 1932, it houses especially late medieval and Renaissance paintings from Italian artists. It is housed in the Brigidi and Buonsignori palaces in the city's center: the former, built in the 14th century, it is traditionally identified as the Pannocchieschi family's residence. The Palazzo Bichi-Buonsignori, although built in the 15th century, has a 19th-century neo-medieval façade based on the city's Palazzo Pubblico.
The Galleria nazionale di Parma is an art gallery in Parma, northern Italy.
The Pinacoteca del Castello Sforzesco is an art gallery in the museum complex of the Castello Sforzesco in Milan, northern Italy.
The Aldobrandini Madonna is an oil painting on canvas by Titian, dating to around 1530 and now in the National Gallery, London. There are studio copies in the Galleria Palatina in Florence and in the Kunsthistorisches Museum in Vienna.
Mystical Marriage of St Catherine and Saints is an oil painting by Lorenzo Lotto, signed and dated of 1524, now in the Collections of the Galleria Nazionale d'Arte Antica, Rome, Italy.
Madonna and Child with Two Donors is an oil on canvas painting by Lorenzo Lotto, created c. 1533–1535, now in the J. Paul Getty Museum in Los Angeles. It and other works by the artist originated in the Palazzo Pallavicini Rospigliosi collection in Rome before being sold to the Benson collection in London, then to the Hearst Corporation in New York and finally to its present owner.
Madonna and Child with Saints is an oil on panel painting by Lorenzo Lotto, signed "L. Lotus F.[ecit]", and created c. 1505. It was first definitively recorded in 1727, when it was in France in the Orléans Collection - it is now in the Scottish National Gallery in Edinburgh. It is in the Holy Conversation style - on the left are a male saint and Saint Peter, whilst to the left are a female saint and Francis of Assisi.
Madonna and Child with Saint Catherine and Saint James is an oil on canvas painting by Lorenzo Lotto, created c. 1527, now in the Kunsthistorisches Museum in Vienna. To the right are the two martyr saints Catherine of Alexandria and James the Great.
Madonna of the Rosary is a 1539 oil on canvas painting by Lorenzo Lotto, signed and dated below the Virgin Mary's feet ".L.LOTUS.MDXXXIX.".
The Santo Spirito Altarpiece is a 1521 oil on panel painting by Lorenzo Lotto, signed and dated "L. Lotus / 1521". The work shows the Madonna and Child with saints Catherine of Alexandria, Augustine of Hippo, Sebastian and Anthony the Great. At the foot of the throne is John the Baptist as a child with the Lamb of God.
Adoration of the Christ Child is a 1508 tempera on poplar panel by Lorenzo Lotto, owned by and exhibited at the EUROPEUM – European Culture Centre, a branch of the National Museum in Krakow, Poland. To the left of the Madonna and Child is Francis of Assisi, in the centre background is an aged saint and to the right is a female martyr, possibly Catherine of Alexandria.
Count Guglielmo Lochis was an Italian nobleman, politician, art collector and art connoisseur.
Madonna and Child with Saints is a 1588 oil on canvas painting by Annibale Carracci, now in the Gemäldegalerie Alte Meister in Dresden. Signed and dated by the artist, it is also known as Madonna and Child with Saints Francis, Matthew and John the Baptist, Madonna and Child Enthroned with Saint Matthew and the St Matthew Madonna.
Madonna and Child with Saints is a common theme in Christian art, and is thus the title of a number of works.
The Madonna and Child with Saints is the subject of several paintings by Cima da Conegliano:
