Lorenzo LottoItalien, 1480–1556Saint Jérôme pénitent
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Saint Jerome in Penitence is an oil-on-panel painting by Italian Renaissance artist Lorenzo Lotto. Its signature ("Lotus") is fully legible, but the final number of the date is illegible, though it is usually dated to around 1506. It is now in the Louvre.
It is traditionally ascribed to the painter's period in Treviso, possibly commissioned by bishop Bernardo de' Rossi for private devotion. A 1510 inventory shows that de' Rossi owned a painting of Saint Jerome, but it is not known for certain that it was the work now in Paris. Some theories hold it to have been a cover for a portrait. It was recorded in Cardinal Fesch's collection in 1814.
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- Inventarnummer
- MI 164
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- Bild: Louvre — © 1999 GrandPalaisRmn (musée du Louvre) / Gérard Blot
Derweil im Leben von Lorenzo Lotto
Das ganze Leben1503
Leaves Venice for Treviso
The young Lotto left Venice, where he would have had to compete with Giorgione, Palma the Elder (Vasari calls Lotto his friend) and Titian, and moved to prosperous Treviso (he is first recorded there as a painter in 1503–1504). Little is known of his training: Bellini's influence is clear, but Bellini was not his teacher; an apprenticeship with Alvise Vivarini is possible.
1506
Invited to Recanati by the Dominicans
Within a few years Lotto had made a considerable name, and the Dominican friars invited him to Recanati in the Marche. He would keep his ties with the order to the end of his days.
1508–1510
Summoned to Rome to decorate the papal apartments
Lotto caught the eye of the papal architect Bramante, who was passing through Loreto, and was invited to Rome to decorate the papal apartments in the Vatican; he worked there with Sodoma and Bramantino, wars in the north kept him from going home, and by other accounts he stayed in Rome in 1509–1512. The paintings were soon destroyed; some accounts say it was to make room for Raphael, others that it was possibly because of Lotto's imitation of Raphael.
18 October 1511
A contract with the Confraternity of the Buon Gesù in Jesi
Lotto undertook to paint a “Deposition” for the church of San Floriano (now in the Jesi art gallery) — it is from this contract that his return to the Marche is known. Judging by his later paintings, he had also been to Perugia and Florence and seen the work of Perugino and Raphael.
1513
Wins a competition and moves to Bergamo
In a competition of sorts among painters, the Dominicans of Bergamo chose Lotto for the high altarpiece of their church of Santi Bartolomeo e Stefano. So began the calmest and most fruitful years of his life: commissions came from wealthy merchants, educated professionals and local aristocrats, and he developed the psychological portrait that reveals the sitter's thoughts and emotions.
1525
Back in Venice, and a quarrel with Fra Damiano
In Venice Lotto first lodged at the Dominican monastery of Santi Giovanni e Paolo but was forced to leave after a few months following a conflict with the intarsia artist Fra Damiano da Bergamo; to cope with his commissions he set up a workshop. Other accounts extend his Bergamo period to 1526.
