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Lorenzo Lotto (Italian. Lorenzo Lotto) is one of the best Venetian painters, apprentice, apparently, Giovanni Bellini (another assumption — the pupil of Alvise Vivarini]), which developed later under the influence of Giorgione and Correggio in part. B. around 1480 in Venice; mind. about 1556, probably in Loretto. His talent combined coloristic qualities of the Venetian school, with the pursuit of truth and beauty, with ingenuity of composition and high poetic feeling. He mainly painted religious paintings, but also portraits. His works are found in many Italian churches and art galleries. They are not constitute rarities in the museums of England and Central Europe. The finest of them are in the churches of S. Spirito ("the betrothal of St. Catherine"), S. Bernardino ("Madonna enthroned with saints") and S.-Bartolommeo ("the Adoration of the virgin with the Infant Christ") in Bergamo and the CDC. S. Domenico ("Taking the virgin into heaven") in Ancona. In the Imperial Hermitage Museum are three pictures by Lorenzo Lotto: "Madonna", "the Sleep of Christ child" and "portrait".

LOTTO, LORENZO (Lotto, Lorenzo) (1480-1556), Venetian painter. He was born in 1480 in Venice and probably was a pupil of Aleviz Vivarini, from whom he took the traditional image of the shapes separately from the environment (method, Titian overcome by the unity of the composition). Lotto largely developed the desire Aleviz Vivarini to the transmission of subtle shades of emotional state and feelings. It is for this purpose of Lotto has upset the balance of figures in the composition; it does not consider it necessary to adhere to modern style and overcome the alienation of the characters from the world around them.

In 1526-1529 and 1540-1549 Lotto lived in Venice, but mostly he worked in the provincial towns of Northern Italy. Personal letters and documents of the master show that he was a misanthrope and suffered from lack of recognition. In old age, he found refuge in the Santa Casa at Loretto, where he died in 1556. Among his works – large traditional altar images, sketches and sketches of individual figures of saints and portraits. Several major works – a cycle of frescoes in the oratory of Villa Suardi in trescore Balneario and cardboard for wooden decorations in the technique of marquetry in the Church of Santa Maria Maggiore (Bergamo) – reveal Frank, lively realism, not observed in any of the other artists of this time. From its early style, bright and somewhat heavy (Portrait Rossi; altarpiece of the Annunciation, 1528, the Church of Santa Maria Sopra Mercanti at Recanati), Lotto moved on to songs rapid and vibrating motion (the altar of the Church of San Bernardino in Bergamo). Obviously, the Venetian tradition has resulted in the emergence of softer and wider interpretation of nature (examples of this are the numerous portraits). The later works are darker in color, more expressive and ambiguous environment (altars in the Church of Santa Maria in Telosian in Iezi, Monte San Giusto and Church of San Nicolo in Cingoli).

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