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 :. | Thronende Madonna | Andrea Odoni (mk45) | Madonna with Child between Sts Flavian and Onuphrius | Portrat eines Edelmannes mit Lowentatze | Transfiguration |
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Pieter Cornelis (Piet) Mondriaan
(March 7, 1872?CFebruary 1, 1944) was a Dutch painter. He was an important contributor to the De Stijl art movement and group, which was founded by Theo van Doesburg. He evolved a non-representational form which he termed Neo-Plasticism.
Viviano Codazzi
1604-1670 Italian Viviano Codazzi Location 1670). Italian painter. He arrived in Naples about 1634, having almost certainly trained in Rome. He was a specialist in the realistic architectural VEDUTA, and his interest in this theme may have been stimulated in Rome by the quadratura frescoes of Agostino Tassi and by the urban views of Claude Lorrain and Herman van Swan.
SCHAUFELEIN, Hans Leonhard
German Northern Renaissance Painter, ca.1480-1540 was a German painter, designer, and wood engraver. He was born in Nuremberg, probably studied under Wohlgemut, and then became the assistant of D??rer, whom he imitated. In 1512 he went to Augsburg and in 1515 removed to Nordlingen. He is a graceful narrator, and his types, though rarely accurately drawn, are attractive, but he lacks power and depth. Characteristic early paintings are the altarpiece at Ober Sankt Veit[1], near Vienna (1502), "Scenes from the Life of Christ" (Dresden Gallery), and "St. Jerome" (Germanic Museum, Nuremberg). To his Nordlingen period belong his masterpiece, the so-called "Ziegler Altar" for St. George's Church (1521), part of which is still in the church, part in the museum; "Scenes from the Story of Judith," in the town hall; and the illuminated Psalter for Count von Ottingen, now in the Berlin print room. His most important woodcuts are those for the Theuerdank of Emperor Maximilian.