Portrait of a Young Man with a Book is an oil-on-panel painting by the Italian Renaissance artist Lorenzo Lotto, now in the Pinacoteca del Castello Sforzesco in Milan, to which it was bequeathed in 1876. [1] At that time its artist was unknown. [2] It is dated to between the end of Lotto's time in Bergamo and his early years in Venice, that is between 1524 and 1527, and more specifically to around 1526. [3]
Giovanni Ambrogio Figino was an Italian Renaissance painter from Milan.
The Castello Sforzesco is a medieval fortification located in Milan, northern Italy. It was built in the 15th century by Francesco Sforza, Duke of Milan, on the remnants of a 14th-century fortification. Later renovated and enlarged, in the 16th and 17th centuries it was one of the largest citadels in Europe. Extensively rebuilt by Luca Beltrami in 1891–1905, it now houses several of the city's museums and art collections.
The Italian city of Milan is one of the most-visited tourist destinations in the European Union, with 8.81 million visitors in 2017, putting it 15th in the world when ranked by tourist visits. One source has 56% of international visitors to Milan are from Europe, 44% of the city's tourists are Italian, and 56% are from abroad. The most important European Union markets are the United Kingdom (16%), Germany (9%) and France (6%).
Cordusio is a station on Line 1 of the Milan Metro in the busy, commercial Piazzale Cordusio. It was opened on 1 November 1964 as part of the inaugural section of the Metro, between Sesto Marelli and Lotto. The station is near the piazza del Duomo, and the long via Dante, which leads up to the Castello Sforzesco.
The Museo d'Arte Antica is an art museum in the Castello Sforzesco in Milan, in Lombardy in northern Italy. It has a large collection of sculpture from late antiquity and the medieval and Renaissance periods. The various frescoed rooms of the museum house an armoury, a tapestry room, some funerary monuments, Michelangelo's Rondanini Pietà and two medieval portals.
The Pinacoteca del Castello Sforzesco is an art gallery in the museum complex of the Castello Sforzesco in Milan, northern Italy.
Daniele Ranzoni was an Italian painter of second half of the 19th century.
Portrait of a Man with a Book is an oil on canvas painting by Correggio, dated to around 1522. It was bequeathed to the Pinacoteca del Castello Sforzesco in Milan in 1945 by Lydia Caprara Morando Attendolo Bolognini. It is sometimes instead attributed to Parmigianino but majority opinion is that it dates to Correggio's first mature period, which is supported by the fact that it was painted directly on top of the sketch, an informal technique suggesting it was made for a close friend of the artist.
The Bolognini Madonna is a 16th century oil on panel painting by Antonio da Correggio.
Madonna and Child is a c. 1460–1465 tempera on panel painting by Giovanni Bellini, signed on the trompe-l'œil parapet. It dates from his early phase, when he was still strongly influenced by his father Jacopo and by Andrea Mantegna. The Christ Child holds a fruit, symbolising Original Sin and foreshadowing his Passion. Some art historians feel the haloes and drapery are too archaic for the work to be by Bellini, but the signature's authenticity was confirmed by a 1999 restoration.
Adoration of the Shepherds is a c.1534 oil-on-canvas painting by the Italian Renaissance artist Lorenzo Lotto, signed "Lottus" and now in the Pinacoteca Tosio Martinengo in Brescia. Its dating is based on stylistic motifs such as the naturalistic details similar to those of the Recanati Annunciation. It also shows similarities to nativities painted around the same time by Girolamo Savoldo, whom Lotto met in Venice. It seems to have been commissioned by Braccio II and Sforza Baglioni, two noblemen from Perugia, who were the models for the two shepherds. They may have met the artist in the Marche during a pilgrimage to Loreto. A ring on Mary's right hand is probably an allusion to the Holy Ring, a relic in Perugia Cathedral, which supports the idea that the work was produced for that city. This provenance is solely based on an account from 1824 by the art dealer who that year sold it to Paolo Tosio, a count from Brescia.
Portrait of a Young Man or Portrait of a Gentleman in his Study is an oil-on-canvas painting by Lorenzo Lotto, created c. 1530, now in the Gallerie dell'Accademia of Venice. It is known in Italian as Giovane malato, literally The Ill Young Man – the flower with leaves is thought to be a symbol of disappointment in love or an illness, perhaps melancholy. The subject also turns his back on worldly pleasures. More so than in other works produced around the same time by the artist such as his Portrait of Andrea Odoni, it shows Lotto moving beyond the influence of Titian with more precise definition of details and contours.
Madonna of the Rosary is a 1539 oil-on-canvas painting by the Italian artist Lorenzo Lotto, signed and dated below the Virgin Mary's feet ".L.LOTUS.MDXXXIX.".
Pietà is an oil-on-canvas painting by the Italian High Renaissance artist Lorenzo Lotto, signed "Laurentio Lotto". It is mentioned in Lotto's account books as being commissioned in 1538 for the altar dedicated to the Pietà in the Dominican Church of San Paolo in Treviso. The account books also mention that the work was completed in 1545. That church was suppressed under the Napoleonic regime late in the 18th century and in 1811 the painting was bought for 12 ducats by the Pinacoteca di Brera in Milan, where it still hangs.
Presentation in the Temple is an oil-on-canvas painting of the presentation of Jesus at the Temple by Lorenzo Lotto, created c. 1552–1556, now in the Museo pinacoteca della Santa Casa in Loreto. It is recognised as Lotto's last surviving autograph work – he had become an oblate at the Holy House of Loreto and produced this and several other large canvases for the choir of the church there. Vasari's Lives of the Artists mentions Lotto planning a series of scenes from Christ's childhood for Loreto, of which Presentation is thought to be one.
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
Saint Lucy Before the Judge is a mixed-medium panel painting by the Italian Renaissance artist Lorenzo Lotto, signed and dated to 1532, consisting of a main work and a predella with three other scenes from saint Lucy's life. It is now in the Pinacoteca civica e galleria di arte contemporanea in Jesi in the province of Ancona.
Lamentation over the Dead Christ is an oil painting on canvas of c. 1515–1520 by Bramantino, painted for the church of San Barnaba in Milan. The work was acquired by the Werner family in 1985 and now in the Pinacoteca del Castello Sforzesco in the same city. A copy is now in a private collection.
Noli me tangere is a fragment of a fresco of c. 1498–1500 by Bramantino depicting Jesus and Mary Magdalene soon after the resurrection. It was originally in the church of Santa Maria del Giardino in Milan and since 1867 in the Pinacoteca del Castello Sforzesco in the same city, to which it was given by Prospero Moisè Loria.
 | This article about a sixteenth-century painting is a stub. You can help Wikipedia by expanding it. |