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.
Saint Nicholas in Glory is an altarpiece painting by Italian Renaissance artist Lorenzo Lotto, executed in 1527-1529 and located in the church of Santa Maria dei Carmini, Venice.
The Asolo Altarpiece is a 1506 oil-on-panel altarpiece by the Italian Renaissance artist Lorenzo Lotto. For a long time it was displayed in the Santa Caterina Oratory in Asolo but it is thought to have originally been painted for the Battuti confraternity's side-chapel in Asolo Duomo, where it now hangs. It is signed "Laurent[ius] Lotus / Junio[r] M.D.VI" on a cartouche in the lower centre. It dates to the end of his time in Treviso.
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.
St Antoninus Giving Alms or The Alms of St Antoninus is an oil-on-canvas painting by the Italian artist Lorenzo Lotto, created c. 1540–1542. It depicts Archbishop Antoninus of Florence giving alms as an allegorical ideal for bureaucratic charity. The painting is now displayed in the Basilica dei Santi Giovanni e Paolo in Venice.
Christ Taking Leave of his Mother is an oil-on-canvas painting by Lorenzo Lotto, dated to 1521 and now in the Gemäldegalerie, Berlin. It has several similarities with the small Christ Taking Leave of his Mother by Correggio now in London.
Christ Bearing the Cross is an oil-on-canvas painting by Lorenzo Lotto, painted in 1526 and now in the Louvre. It is signed and dated "Laur. Lotus / 1526" on the crossbeam of the cross at the lower right.
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 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 and Child with Saint Jerome and Saint Nicholas of Tolentino is an oil-on-canvas painting by Lorenzo Lotto executed c. 1523–1524. It is known to have been in the Dawkins collection in Oxford between 1911 and 1955, before passing to the Heinemann collection in New York. In 1960 it passed to its present owner, the Museum of Fine Arts, Boston, which also owns a workshop version of his Mystic Marriage of St Catherine.
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.
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.
The Ponteranica Altarpiece is a six-panel oil painting series produced by Lorenzo Lotto in 1522, commissioned by the Scuola del Corpo di Cristo for the parish church of San Vincenzo e Sant'Alessandro in Ponteranica, where it still remains. Its upper register shows the risen Christ flanked by an Annunciation scene, whilst below is John the Baptist flanked by saints Peter and Paul.
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 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. At that time its artist was unknown. 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.
Portrait of Giovanni Agostino della Torre and his son Niccolò is an oil-on-canvas painting by Lorenzo Lotto, created in 1515, and now in the National Gallery, London. It is signed and dated "L.[aurentius] Lotus P.[inxit] / 1515". Its subjects have been identified via inscriptions scattered throughout the painting. They both practised medicine and pharmacy in Bergamo, selling iron vitriol from a shop on Piazza Vecchia.
Holy Trinity is an oil-on-canvas painting by Lorenzo Lotto, created c. 1519–1520. It was produced as an altarpiece for the high altar of Trinità Church in Bergamo, then sited in front of the Church of Santo Spirito.
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.
The Suardi Chapel is an oratory or private chapel inside the villa in Trescore Balneario, Province of Bergamo owned by the Suardi counts. It is dedicated to Saint Barbara and Saint Brigid and was completely rebuilt by the cousins Giovan Battista and Maffeo Suardi. It was fully covered in 1524 by frescoes commissioned by them from Lorenzo Lotto of Christ the Vine and Lives of the Saints. In the 19th century, count Gianforte Suardi built a corridor connecting the chapel to the villa and modified the chapel entrance – those entering had previously immediately found themselves in front of the north wall with its depiction of Christ the Vine.
