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Pinacoteca del Castello Sforzesco verified

Milano, Lombardia, IT closed Visit museumarrow_right_alt

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Filippo Lippi - Madonna of Humility
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Alessandro Magnasco, detto Lissandrino - The Verziere Market
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Bernardo Bellotto - The Palazzo of the Jurists and Milan's Court of Justice
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Antonio Allegri, detto il Correggio - Bolognini Madonna
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Lorenzo Lotto - Portrait of a youth with a petrarchino
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Giovanni Antonio Canal, detto Canaletto - The Pier towards Riva degli Schiavoni with the Column of Saint Mark
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Andrea Mantegna - Madonna in glory with Saints John the Baptist, Gregory the Great, Benedict and Jerome
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Francesco Galli - Madonna Lia
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Pier Francesco Mazzucchelli, detto il Morazzone - Pentecost
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Vincenzo Foppa - Madonna of the book
Filippo Lippi - Madonna of Humility
Alessandro Magnasco, detto Lissandrino - The Verziere Market
Bernardo Bellotto - The Palazzo of the Jurists and Milan's Court of Justice
Antonio Allegri, detto il Correggio - Bolognini Madonna
Lorenzo Lotto - Portrait of a youth with a petrarchino
Giovanni Antonio Canal, detto Canaletto - The Pier towards Riva degli Schiavoni with the Column of Saint Mark
Andrea Mantegna - Madonna in glory with Saints John the Baptist, Gregory the Great, Benedict and Jerome
Francesco Galli - Madonna Lia
Pier Francesco Mazzucchelli, detto il Morazzone - Pentecost
Vincenzo Foppa - Madonna of the book

Other works on display

Description

Born in Venice, the artist sought employment in other regions, accepting offers from both religious organisations and members of the nascent Italian bourgeoisie. Lorenzo Lotto only received critical acclaim as an extraordinary innovator in the last century, particularly as a portrait painter. Testimony to this is the Portrait of a youth with a “petrarchino”, representing a young man intent on reading a small volume containing the lyrics of Petrarch. Everything about the painting works to familiarize the viewer with the actions of the youth, but also to portray the psychological undertones that seem to transpire from and ripple across the subject's face. The capacity to capture fleeting changes of sentiment and fix them in indelible physiognomies is a prerogative of the Venetian artist. The true identity of the young man remains unknown, as are the details of the work, despite the entries that the artist regularly added to his diary. The suggestion that the work may have been painted between 1524 and 1526 therefore, relies entirely on a stylistic analysis.

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