The work is known since 1882, when the Accademia acquired it from a private collection. The subject was identified later, after the rebus included in it was recognized: the moon in the upper left background contains the inscription "CI", which, in Italian, translates as "CI in Luna", e.g. "LuCIna"; the Brembati coat of arms is instead contained in ring of the woman's left forefinger.
Description
The painting is a bust portrait, with the face slightly from three-quarters. Lucina wears rich clothes with gilt ribbons and shell-shaped embroideries, as well as several jewels including a necklace of pearls, and another with a horn-shaped pendant, which at the time was used as a toothpick.
Working differently from the idealized portraits Titian and Palma the Elder had made widespread in Venice, Lotto used a more realistic approach: this is shown is details such as the asymmetric face, the weighty chin, and the sharp nose. In this he followed the local tradition of painters such as Paolo Cavazzola.
According to some scholars, the man touching the womb could be an allusion to the character's pregnancy state. The dead weasel could also symbolize the defeat of a presage of disgrace for pregnant woman. According to other scholars, the weasel could symbolize marital fidelity. The background includes a heavy red brocade drapery with a night sky.
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.
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Vittore Carpaccio (UK: /kɑːrˈpætʃ oʊ/, US: /-ˈpɑːtʃ-/, Italian: [vitˈtoːre karˈpattʃo]; was an Italian painter of the Venetian school who studied under Gentile Bellini. Carpaccio was largely influenced by the style of the early Italian Renaissance painter Antonello da Messina, as well as Early Netherlandish painting. Although often compared to his mentor Gentile Bellini, Vittore Carpaccio's command of perspective, precise attention to architectural detail, themes of death, and use of bold color differentiated him from other Italian Renaissance artists. Many of his works display the religious themes and cross-cultural elements of art at the time; his portrayal of St. Augustine in His Study from 1502, reflects the popularity of collecting "exotic" and highly desired objects from different cultures.
Evaristo Baschenis was an Italian Baroque painter of the 17th century, active mainly around his native city of Bergamo.
Giovanni Cariani, also known as Giovanni Busi or Il Cariani, was an Italian painter of the high-Renaissance, active in Venice and the Venetian mainland, including Bergamo, thought to be his native city.
Altobello Melone was an Italian painter of the Renaissance.
Bartolomeo Veneto was an Italian painter who worked in Venice, the Veneto, and Lombardy. During his time in Venice, he studied under Gentile Bellini. The little information available about Bartolomeo's life has been derived from his signatures, dates, and inscriptions. His best-known works are portraits or pictures with portrait-like character. Bartolomeo's later works, and especially those done on commission in Milan, indicate an influence from the artist Leonardo da Vinci.
The Portrait of Giuliano de' Medici is a painting of Giuliano de' Medici (1453–1478) by the Italian Renaissance painter Sandro Botticelli, probably painted soon before Giuliano was assassinated in the Pazzi conspiracy in 1478. It belongs to the Berlin State Museums, and is in the Gemäldegalerie, Berlin.
The Martinengo Altarpiece is a painting by the Italian High Renaissance painter Lorenzo Lotto, finished in 1516. It is housed in the church of Santi Bartolomeo e Stefano in Bergamo in northern Italy.
The Portrait of a Young Man with a Lamp is an oil-on-canvas painting by the Italian High Renaissance painter Lorenzo Lotto, dating to c. 1506. It is housed in the Kunsthistorisches Museum of Vienna, Austria.
Fausto Antonioli was an Italian painter.
Ponziano Loverini was an Italian painter, known primarily for his canvases and frescoes of sacred subjects.
The Tailor is an oil on canvas painting by Italian painter Giovanni Battista Moroni, from 1565-1570. It is a portrait of a member of the Marinoni family, who has been traditionally taken to be a tailor practising his art during the work day. The painting is held in the National Gallery, in London.
Mystical Marriage of St Catherine of Alexandria with Niccoló Bonghi is an oil-on-panel painting by Lorenzo Lotto, executed in 1523, in the Collections of the Accademia Carrara, Bergamo, Italy.
The Entombment of Christ is a 1513–1516 oil-on-canvas painting by the Italian Renaissance artist Lorenzo Lotto, now in the Accademia Carrara in Bergamo. It originally formed the central predella panel to the artist's Martinengo Altarpiece at the church of Santi Bartolomeo e Stefano.
Portrait of Marsilio Cassotti and His Bride Faustina is an oil-on-canvas painting by Lorenzo Lotto, currently housed in the Museo del Prado, in Madrid. The work, signed and dated "L. Lotus Pictor / 1523", was created during Lotto's stay in Bergamo in 1523. Measuring 71 cm by 84 cm, it represents a significant contribution to the Italian tradition of double portrait marriage paintings, a genre previously more common in Northern Europe.
Holy Family with Saint Catherine of Alexandria is a 1533 oil-on-canvas painting by the Italian Renaissance artist Lorenzo Lotto, now in the Accademia Carrara in Bergamo. It is signed and dated "Laurentius Lotus 1533" and it measures 85.7 cm in height and 110.8 cm in width. Six later copies after the work are known. The Bergamo version is judged to be of exceptional quality, and the earliest.
Count Guglielmo Lochis was an Italian nobleman, politician, art collector and art connoisseur.
The Lochis Madonna is a tempera and gold on panel painting by the Italian Renaissance painter 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.
The Assumption of the Virgin is an oil on panel painting by Palma Vecchio, created c. 1513, now in the Gallerie dell'Accademia in Venice.
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