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 :. | Penitent St Jerome | Thronende Madonna, Engel und Heilige | The Martyrdom of St Stephen | Andrea Odoni (mk45) | Virgin and Child with SS Catherine and Fames the Greater |
Related Artists:
Victor Forsell
painted Motiv fran Stockholms omgivningar in 1846-1931
Philip Charles Hardwick
English architect , (1822-1892), was a notable English architect of the 19th century who was once described as "a careful and industrious student of mediaeval art". He was born in Westminster and was the son of the architect Philip Hardwick (1792-1870), grandson of Thomas Hardwick (junior) (1752-1825) and great grandson of Thomas Hardwick Senior (1725-1825); the Hardwicks' architectural work spanned over 100 years, making them one of the most successful architectural families in British history. Hardwick's mother was also from an eminent architectural family: the Shaws. His maternal grandfather was John Shaw Senior (1776-1832) and his uncle was John Shaw Jr (1803-1870) - both architects known for their work at Christ's Hospital and at Ramsgate harbour. Philip Charles trained under his father and also in Edward Blore's office during which time he visited Belgium and Germany. Hardwick exhibited regularly at the Royal Academy between 1848 and 1854. Like his father, Philip Charles was employed in the 'Square Mile' of the City of London, where he became the leading architect of grandiose banking offices, mainly in an Italianate manner, setting the pattern for suburban and provincial designs for almost three decades. He designed five City banks, including Drummond's in Trafalgar Square (1879-81), and was architect to the Bank of England from 1855 to 1883. However, he was more employed outside London, designing branch offices at Hull (1856) and Leeds (1862-65). His best known work was the Great Hall of London's Euston railway station (opened on 27 May 1849). The Great Hall was demolished in 1962 to make way for construction of the current Euston Station building. Philip Charles was the last Hardwick Surveyor to St Bartholomew's Hospital in London and was a major benefactor of the hospital.
Barend Cornelis Koekkoek
1803-1862 Dutch Barend Cornelis Koekkoek Gallery Koekkoek??s own paintings reveal a careful study and synthesis of Dutch seventeenth century painters. His art is firmly rooted in the great Dutch romantic tradition established by the seventeenth-century masters: Hobbema, Cuyp, Ruisdael and Wynants. The golden light and the inclusion of travellers in his work suggests Koekkoek also admired the Dutch Italianate painters of the seventeenth century, collectively known as the Bamboccianti, especially Pieter van Laer and Jan Both. Koekkoek imagined his pictures as the result of an ideal combination of observation and artifice. He studied art and nature with equal acuity, creating beautiful landscape paintings that celebrated the greatness of Creation. ??Koekkoek's work impresses the spectator by its power, by the firm and correct construction of the trees, by the broad, natural growth of the leaves and boughs, [and] by the careful and elaborate reproduction of the wooded landscape?? (G. H. Marius, Dutch Painters of the Nineteenth Century, Woodbridge, 1973, p. 89). Up to this day, Willem Koekkoek's work is very much favoured for the lively composition and the mood of nostalgia, in which the Dutch Golden Age seems to linger on. Just as he was during his own lifetime, Koekkoek is widely regarded as the most accomplished landscape painter of Dutch romanticism, against whose scrupulously refined paintings the work his contemporaries is measured.