id: 127571 accession number: 1950.250 share license status: CC0 url: https://clevelandart.org/art/1950.250 updated: 2019-07-18 08:04:28.247000 Portrait of a Man, possibly Girolamo Rosati, 1533–34. Lorenzo Lotto (Italian, 1480-1556). Oil on canvas; framed: 135.9 x 128 x 8.6 cm (53 1/2 x 50 3/8 x 3 3/8 in.); unframed: 108.2 x 100.5 cm (42 5/8 x 39 9/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund 1950.250 title: Portrait of a Man, possibly Girolamo Rosati title in original language: series: series in original language: creation date: 1533–34 creation date earliest: 1533 creation date latest: 1534 current location: creditline: Gift of the Hanna Fund copyright: --- culture: Italy, 16th century technique: oil on canvas department: European Painting and Sculpture collection: P - Italian 16th & 17th Century type: Painting find spot: catalogue raisonne: --- CREATORS * Lorenzo Lotto (Italian, 1480-1556) - artist --- measurements: Framed: 135.9 x 128 x 8.6 cm (53 1/2 x 50 3/8 x 3 3/8 in.); Unframed: 108.2 x 100.5 cm (42 5/8 x 39 9/16 in.) state of the work: edition of the work: support materials: inscriptions: inscription: Signed lower right: ".L. Lotus 15[...]" translation: remark: --- CURRENT EXHIBITIONS title: The Venetian Tradition opening date: 1956-11-08T05:00:00 The Venetian Tradition. The Cleveland Museum of Art (November 8, 1956-January 1, 1957). title: In Memoriam: Leonard C. Hanna, Jr. opening date: 1958-03-04T05:00:00 In Memoriam: Leonard C. Hanna, Jr.. The Cleveland Museum of Art (March 4-April 7, 1958). title: Style, Truth and the Portrait opening date: 1963-10-02T04:00:00 Style, Truth and the Portrait. The Cleveland Museum of Art (October 2-November 19, 1963). title: Renaissance Venice and the North: Crosscurrents in the time of Bellini, Dürer, and Titian opening date: 1999-09-05T00:00:00 Renaissance Venice and the North: Crosscurrents in the time of Bellini, Dürer, and Titian. Palazzo Grassi, Venice (September 5, 1999-January 9, 2000). title: Lorenzo Lotto opening date: 2011-02-25T00:00:00 Lorenzo Lotto. Scuderie del Quirinale (organizer) (February 25-June 12, 2011). --- LEGACY EXHIBITIONS * Amsterdam, Rijksmuseum, 1933-1939 (lent by Bruikleen von Ofenheim).
Amsterdam, Stedelijk Museum, 1934: "italiaansche Kunst in Nederlandsche bezit," cat. no. 197, p. 79, pl. 197.
Venice, Palazzo Ducale, 1953: "Mostra di Lorenzo Lotto," p. 110, pl. 69 (Catalogue by Pietro Zampetti).
CMA, 1956: "The Venetian Tradition," cat. no. 24, p. 26, pl. I (Catalogue by Henry S Francis).
Columbus (Ohio) Gallery of Fine Ars, October 27-November 27 1961: "The Renaissance Image of Man and the World," cat. no. 29, repr.
Waltham, Massachusetts, Brandeis University, Insititute of Fine Arts, May 3-June 9, 1963: "Major Masters of the Renaissance, A Loan Exhibition of the Poses," cat. no. 11, p. 18, illus.
CMA, 1963: "Style, Truth and the Portrait," cat. no. 1, color frontispiece, (cataloge by Rèmy G. Saisselin).
Venice, Italy (9/5/99 - 1/9/00) Palazzo Grassi "Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Dürer and Titian," no. 91, pp. 384-385.
Scuderie del Quirinale, Rome (2/25/2011 - 6/12/2011): "Lorenzo Lotto" ex. cat. no. 41, p. 224-225. --- PROVENANCE Imperial collection, Vienna; date: footnotes: citations: - 1923 Kunsthistorisches Museum (Vienna, Austria), sold to Moritz Lindemann, 1923; date: footnotes: citations: 1923 Moritz Lindemann (Vienna, Austria),sold to Wilhelm von Ofenheim, 1923; date: footnotes: citations: 1923 - 1930 Wilhelm von Ofenheim, 1860-1930 (Vienna, Austria), upon his death, held in trust by his heirs, 1930; date: footnotes: citations: 1930 - 1939 Von Ofenheim family trust, sold to Rosenberg and Stiebel, 1939; date: footnotes: citations: [Rosenberg & Stiebel, New York], sold to the Cleveland Museum of Art, 1950. date: footnotes: citations: --- fun fact: digital description: The gesture of the elegantly dressed man is a mystery. Is he rising from his chair to address someone or is he pointing to something outside the frame? His right hand rests on a piece of paper (a letter?), while on the table are clover—a symbol of abundance, good fortune, and happy marriage—and jasmine, associated with purity and love, further emphasized by the roses on the trellis. There may have been a companion portrait of the sitter’s bride, to whom he acknowledges his devotion. Another recent interpretation identifies the sitter as Girolamo Rosati, a high official in Fermo, on Italy’s east coast. The paper may be a design for one of his important architectural projects, to which he may be pointing in the distance. The interrupted moment is a naturalistic touch characteristic of Lotto, quite distinct from the formality of the other Italian Renaissance portraits in the museum's collection. Though this portrait clearly articulates the man’s status, Lotto emphasizes his individuality and interiority as much as a socially constructed identity. wall description: The gesture of the elegantly dressed man is a mystery. Is he rising from his chair to address someone or is he pointing to something outside the frame? His right hand rests on a piece of paper (a letter?), while on the table are clover—a symbol of abundance, good fortune, and happy marriage—and jasmine, associated with purity and love, further emphasized by the roses on the trellis. There may have been a companion portrait of the sitter’s bride, to whom he acknowledges his devotion. Another recent interpretation identifies the sitter as Girolamo Rosati, a high official in Fermo, on Italy’s east coast. The paper may be a design for one of his important architectural projects, to which he may be pointing in the distance. The interrupted moment is a naturalistic touch characteristic of Lotto, quite distinct from the formality of the other portraits in this gallery. Though this portrait clearly articulates the man’s status, Lotto emphasizes his individuality and interiority as much as a socially constructed identity. --- RELATED WORKS --- CITATIONS The Cleveland Museum of Art. The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries. Cleveland, OH: The Cleveland Museum of Art, 1982. page number: Reproduced: p. 367; Mentioned: p. 366-368 url: The Cleveland Museum of Art. The Cleveland Museum of Art Handbook. Cleveland, OH: The Cleveland Museum of Art, 1958. page number: Mentioned and Reproduced: cat. no. 413 url: https://archive.org/details/CMAHandbook1958/page/n76 The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1966. Cleveland, OH: The Cleveland Museum of Art, 1966. page number: Reproduced: p. 97 url: https://archive.org/details/CMAHandbook1966/page/n121 The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969. page number: Reproduced: p. 97 url: https://archive.org/details/CMAHandbook1969/page/n121 The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. page number: Reproduced: p. 106 url: https://archive.org/details/CMAHandbook1978/page/n126 Frangi, Francesco and Maria Cristina Passoni. Attorno a Lotto: Naturalismo e Psicologia nel Ritratto Rinascimentale. Milano: Skira, 2017. page number: Reproduced: p. 30, fig. 8 url: Dal Pozzolo, Enrico Maria. Lorenzo Lotto:Il Richiamo delle Marche: Luoghi, Tempi e Persone. Milano: Skira, 2018. page number: Mentioned: p. 75; Reproduced: p. 76, fig. 5 url: Dal Pozzolo, E. M. "Two Paitnings of Samson by Lorenzo Lotto at Charlecote Park." The Burlington Magazine 160. no. 1385 (Aug. 2018): 640-645. page number: Mention: p. 26 url: Dossier de l'art. "Exposition a Londres: Lorenzo Lotto Portraitiste." Dossier de l'art 264, (Nov. 2018): 4-13. page number: Reproduced: p. [4-5], 12 url: Pozzolo, Enrico Maria Dal. Lorenzo Lotto: Portraits. Madrid: Museo Nacional del Prado, 2018. page number: Mentioned and Reproduced: no. 29, p. 42, 284-286 url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/1950.250/1950.250_web.jpg print: https://openaccess-cdn.clevelandart.org/1950.250/1950.250_print.jpg full: https://openaccess-cdn.clevelandart.org/1950.250/1950.250_full.tif