Italian High Renaissance Painter, ca.1480-1556 Italian painter and draughtsman. He had a long and often prosperous career as a painter, and, although he travelled widely, his style retained a close affinity with the paintings of his native Venice. He was one of an outstanding generation of painters, including Giorgione, Titian, Palma Vecchio and Pordenone, who appeared in Venice and the Veneto during the first decade of the 16th century. In comparison with his contemporaries, Lotto was a fairly traditional painter in that he worked primarily in the long-established genres of altarpieces, devotional pictures and portraiture. Such paintings were popular in the Venetian provinces and the Marches where Lotto spent much of his career and where he often received more money for his commissions than he could obtain in Venice. His most important commissions were for altarpieces, and he is perhaps best known for a series of sacre conversazioni in which he skilfully varied the symmetrical groupings of figures found in earlier Venetian treatments of the subject by Giovanni Bellini and Alvise Vivarini. Precedents in Venice were also important for Lotto's early efforts in bust-length portraiture, but from 1525 he made a considerable contribution to the development of the three-quarter-length portrait. He painted many private devotional paintings but only a few of the historical, mythological or allegorical scenes that were popular in northern Italy in this period. Lotto is one of the best-documented painters of the 16th century: 40 autograph letters dating from 1524 to 1539,   Related Paintings of LOTTO, Lorenzo :. | The Virgin and Child with Saint Jerome and Saint Nicholas of Tolentino | Head of a Young Man g | Portrait of a Woman sg | The Mystic Marriage of St. Catherine sg | Portrait of a Man af |
Related Artists:
Alexander Yakovlevich GOLOVIN
an important Russian artist and stage designer who designed sets for many productions by Sergei Diaghilev,1863-1930
Nicholas Pocock
British Painter, 1741-1821 English painter. After an apprenticeship in the Bristol shipbuilding yards of Richard Champion, Pocock began a career at sea in the mid-1760s. He was a practised and gifted amateur watercolourist (his earliest signed and dated watercolour is from 1762), and when in command of the Lloyd, one of Champion's merchantmen, he began to keep detailed logbooks illustrated with wash drawings (four at London, N. Mar. Mus.). In 1780 he gave up his sea career, married and sent his first oil painting to the Royal Academy. The picture arrived too late for exhibition, but Sir Joshua Reynolds wrote back, noting 'It is much beyond what I expected from a first essay in oil colours'. Pocock exhibited annually at the Academy between 1782 and 1812 and enjoyed a steady supply of commissions for oil paintings and watercolours, mostly of marine subject-matter. He produced a series of watercolour views of Bristol (stylistically close to Edward Dayes) in the 1780s, many of which were engraved, and of Iceland in 1791.
Masolino
Italian c1383-c1477 Masolino Gallery The principal monograph is by Toesca, Masolino da Panicale (Bergamo, 1908); also, A. H. Layard, The Brancacci Chapel and Masolino, Masaccio, and Filippino Lippi published by the Arundel Society (London, 1868); Schmarsow, Massacio Studien (Cassel, 1895-1900); Bernard Berenson, "Quelques peinures m??connues de Masolino da Panicale," in Gazette des Beaux-Arts, ser. 3, volume xxvii (Paris, 1902); Berenson in Study and Criticism of Italian Art, volume ii (London, 1902); Crowe and Cavalcaselle, History of Painting in Italy, edited by Douglas and Strong (New York, 1903); for data on the life of Masolino: Milanesi, Storia dell' arte toscana (Florence, 1873).