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.
Pietro Perugino, born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
Bernardino Luini was a north Italian painter from Leonardo's circle during the High Renaissance. Both Luini and Giovanni Antonio Boltraffio were said to have worked with Leonardo directly; he was described as having taken "as much from Leonardo as his native roots enabled him to comprehend". Consequently, many of his works were attributed to Leonardo. He was known especially for his graceful female figures with elongated eyes, called Luinesque by Vladimir Nabokov.
Andrea Solari (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with two other Italian painters, the 14th-century Siennese Andrea di Bartolo, and the 15th-century Florentine Andrea di Bartolo.
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.
La Belle Jardinière, also known as the Madonna and Child with Saint John the Baptist, is a painting started by the Italian High Renaissance artist Raphael, and finished by Ridolfo del Ghirlandaio, that depicts the Madonna, a young Christ, and a young John the Baptist. It is believed to have been commissioned by the Sienese patrician Fabrizio Sergardi in approximately 1507. It is currently displayed in the Louvre Museum in Paris, France.
Jacopo del Sellaio (1441/2–1493), was an Italian painter of the early Renaissance, active in his native Florence. His real name was Jacopo di Arcangelo. He worked in an eclectic style based on those of Botticelli, Filippino Lippi, and Domenico Ghirlandaio. The nickname Sellaio derives from the profession of his father, a saddle maker.
Giampietrino, probably Giovanni Pietro Rizzoli, was a north Italian painter of the Lombard school and Leonardo's circle, succinctly characterized by S. J. Freedberg as an "exploiter of Leonardo's repertory."
Madonna with Child Enthroned between Saints John the Baptist and Sebastian is a painting by the Italian Renaissance artist Pietro Perugino, executed in 1493, and housed in the Uffizi Gallery, Florence.
The Madonna in Glory with Saints is a painting by the Italian Renaissance painter Pietro Perugino, dating to c. 1500–1501. It is housed in the Pinacoteca Nazionale of Bologna, Italy.
The Saint Catherine of Alexandria Polyptych is a painting by the Italian medieval artist Simone Martini, dating to 1320. Originally placed at the high altar of the church of Santa Caterina in Pisa, it is now housed in the Museo Nazionale di San Matteo of the same city.
The Sant'Agostino Altarpiece is a painting by Perugino, produced in two stages between around 1502 and 1512 and then around 1513 to 1523. The altarpiece's 28, 29 or 30 panels were split up during the Napoleonic suppression of religious houses - most of its panels are now in the Galleria Nazionale dell'Umbria in Perugia. It is notable as the painter's last masterwork before he moved into his late phase producing more provincial commissions.
The Piazza Madonna is a tempera on panel painting, dating to 1474-1486 and held in Pistoia Cathedral.
Mary Magdalene is an oil on panel painting of Mary Magdalene, dating to around 1500 and now in the Galleria Palatina in Florence - it has featured in its inventory since 1641. It is now attributed to Perugino. It is modelled on his wife Chiara Fancelli, who also modelled for several of his Madonnas. It is comparable to his Madonna and Child with St John the Baptist and St Catherine of Alexandria (Louvre), of similar date and with a similar dark background.
Madonna and Child with Two Saints is a tempera on panel painting by Perugino, dating to around 1495. It is now in the Kunsthistorisches Museum in Vienna. The saint to the right is Catherine of Alexandria, whilst the saint to the left is unidentified but may be Rose of Viterbo or Mary Magdalene.
Madonna and Child with St John the Baptist and St Augustine is a c.1494 painting by Perugino of the Madonna and Child enthroned between John the Apostle and Augustine of Hippo. It is in the church of Sant'Agostino in Cremona. It was commissioned in 1493 by the rich Roncadelli family, and the following year he painted it at his Florence studio before shipping it to Cremona. It is signed and dated on the throne Petrus Perusinus pinxit MCCCCLXXXXIIII.
The Madonna of Loreto is a c.1507 oil on panel painting by Perugino, now in the National Gallery, London, which bought it in 1879. It shows the Madonna and Child flanked by Jerome (left) and Francis of Assisi (right). Two angels hover over Mary's head holding a crown. It reuses the low parapet from Madonna and Child with St Rose and St Catherine (1492) and probably also involved the master's studio assistants.
Madonna and Child with St Rose and St Catherine is a c.1490–1492 tondo oil on panel painting by Pietro Perugino and Andrea Aloigi. It shows the Madonna and Child with Rose of Viterbo and Catherine of Alexandria surrounded by angels It was sold from the collection of William II of the Netherlands in 1850 to the Louvre, where it now hangs.
