Italian 1480-1556 Lorenzo Lotto Galleries In this last period of his life, Lorenzo Lotto would frequently move from town to town, searching for patrons and commissions. In 1532 he went to Treviso. Next he spent about seven years in the Marches (Ancona, Macerata en Jesi), returning to Venice in 1540. He moved again to Treviso in 1542 and back to Venice in 1545. Finally he went back to Ancona in 1549. This was a productive period in his life, during which he painted several altarpieces and portraits : Santa Lucia before the Judge, 1532, Jesi, Pinacoteca comunale The Sleeping Child Jesus with the Madonna, St. Joseph and St. Catherine of Alexandria, 1533, Bergamo, Accademia Carrara Portrait of a Lady as Lucretia, 1533, National Gallery, London. Holy Family with SS Jerome, Anna and Joachim, 1534, Firenze, Uffizi Holy Family, ca 1537, Paris, Louvre Portrait of a Young Man, Firenze, Uffizi Crucifixion, Monte San Giusto, Church of S Maria in Telusiano Rosary Madonna, 1539, Cingoli, Church of San Nicolo Portrait of a Man, 1541, Ottawa, National Gallery of Canada Bust of a Bearded Man, 1541, ascribed, San Francisco, Fine Arts Museum The Alms of Saint Anthony, 1542, Venezia, church SS Giovanni e Paolo Madonna and four Saints, 1546, Venezia, Church of San Giacomo dell??Orio Portrait of fra?? Gregorio Belo da Vicenza, 1548,New York, Metropolitan Museum Assumption, 1550, Ancona, church San Francesco alle Scale The Crossbowman, 1551, Rome, Pinacoteca Capitolina Portrait of an Old man, ascribed, ca 1552, Saint Petersburg, Ermitage Presentation in the Temple, 1555, Loreto, Palazzo Apostolico A Venetian woman in the guise of Lucretia (1533).At the end of his life it was becoming increasingly difficult for him to earn a living. Furthermore, in 1550 one of his works had an unsuccessful auction in Ancona. As recorded in his personal account book, this deeply disillusioned him. As he had always been a deeply religious man, he entered in 1552 the Holy Sanctuary at Loreto, becoming a lay brother. During that time he decorated the basilica of S Maria and painted a Presentation in the Temple for the Palazzo Apostolico in Loreto. He died in 1556 and was buried, at his request, in a Dominican habit. Giorgio Vasari included Lotto's biography in the third volume of his book Vite. Lorenzo Lotto himself left many letters and a detailed notebook (Libro di spese diverse, 1538-1556), giving a certain insight in his life and work. Among the many painters he influenced are likely Giovanni Busi  Related Paintings of Lorenzo Lotto :. | Man with a Golden Paw (mk45) | Madonna and child with Saints Catherine and James | The Martyrdom of St Stephen | Portrait of a young man against a white curtain | Susanna and the Elders |
Related Artists:
Ivan Argunov
Russian Rococo Era Painter , 1727/1729-1802 Russian painter and teacher. He came from a family of serfs, belonging to the Counts Sheremetev, that produced several painters and architects. In about 1746-7 he was a pupil of Georg Christoph Grooth (1716-49), who painted portraits of the Sheremetev family. With Grooth, Argunov worked on the decoration of the court church at Tsarskoye Selo (now Pushkin). A full-length icon of St John of Damascus (1749; Pushkin, Pal.-Mus.), in Rococo style, is distinguished by its secular, decorative character. The Dying Cleopatra (1750; Moscow, Tret'yakov Gal.) is typical of Rococo decorative painting of the mid-18th century, with its striking combination of light, soft tones. Argunov subsequently painted in a quite different style, mainly producing portraits, of which about 60 are known. Among the first of these are pendant portraits of Ivan Lobanov-Rostovsky and his wife (1750 and 1754; St Petersburg, Rus. Mus.), in which the sitters are idealized, as in ceremonial court portraits.
Jan provoost
Dutch, born circa 1465-1529,South Netherlandish painter. He probably came into contact with Simon Marmion, the renowned painter and book illuminator from Valenciennes, via Jacquemart Pilavaine, a publisher and illuminator in his native Bergen. Provoost married Marmion's widow, Jeanne de Quaroube, before 1491, and it is thus assumed that Marmion was his teacher. In 1493 Provoost moved to Antwerp, a promising town for artists, where he registered as a master in the Guild of St Luke, but in 1494 he travelled to Bruges. He became a citizen there and soon played an important part in the painters' guild. In 1506 Maximiliaen Frans (1490-1547) was his pupil. Provoost received commissions for decorative work from the town council and church authorities in 1509, 1513 and 1520, the year of the Triumphal Entry of Charles V into Bruges, for which he worked on the decorations. He returned to Antwerp the same year to meet Albrecht Derer, who may have drawn his portrait. Derer visited Bruges in April 1521 and was Provoost's guest. Of Jan Provoost's children, Adriaen Provoost (b 1508) became a painter and Thomas Provoost a glassmaker, both active in Bruges. Jan Provoost's time as a pupil in a northern French miniaturist's workshop was of decisive influence on his later oeuvre. His work radiates assurance, with its precise drawing, restrained expression and airy landscapes, and he was successful in Bruges, where there was little competition after Hans Memling's death in 1494.
School of Fontainebleau
ca 1550