The exhibition seeks to analyse an important moment in the career of Lorenzo Lotto (Venice 1480 ca. – Loreto 1556/57), a period that coincided with last years the painter spent in Bergamo.
L8 ATTRAVERSO Bergamo is an exhibition itinerary developed from the collaboration of several cultural institutions in different locations of the city of Bergamo. In Accademia Carrara the exhibition Un Lotto riscoperto focuses on the Creation’s marquetry, from Luogo Pio Colleoni, in communication with masterpieces, from important museums (such as le Nozze mistiche di santa caterina d’Alessandria from Palazzo Barberini and the self-portrait from the Thyssen-Bornemisza of Madrid), from private Venetian and Milanese collections and from the church of Santa Maria Assunta of Celena (Bergamo). The attention of Carrara’s exhibition is integrated with Lorenzo Lotto’s creative works already belonging to the museum: the young’s portrait, the predelle of Pala Martinengo, the famous Lucina Brembati’s portrait, the Bonghi mystic marriage and the Holy Family of the Lochis collection. The itinerary also involves the “Lorenzo Lotto Tour – LLT”, by the Fondazione Adriano Bernareggi which offers, other than the museum’s entrance, a visit to the churches of San Bartolomeo, Santo Spirito and San Bernardino, where visitors can find the corresponding altar piece of the Venetian artist. The masterpiece of Santa Maria Maggiore’s Cathedral’s choir, engraved by Lotto and Capoferri, which can be visited thanks to the Fondazione MIA, closes Bergamo’s exhibition itinerary.
Lotto was a wandering artist par excellence, although his travels took place in confined areas which he returned to on several occasions. Venice, where he was born in 1480, Treviso, the Marches Region and then Bergamo, where lived from 1513 to 1525.
He made an exceptional trip to the Papal Court in Rome between 1508 and 1509. This was an exception because Lotto was not a high society man. His clients were humanists, cultivated religious figures and wealthy merchants. He painted memorable portraits of them, images for private devotion, constantly astonishing altarpieces and fresco cycles. Restless, stirred by a tormented religiosity, which is reflected in some aspects of the Protestant Reformation then in its early days, and incapable of handling his business properly, he died in poverty in the Sanctuary of the Holy House of Loreto, where he had retired.
Accademia Carrara Website