(guest post by Ted)
Yesterday, we saddled up our tiny Clio and drove 70 km north to Recanati, in the province of Macerata. Recanati is an old and tidy little town of red brick sitting on top of a ridge-line. When we emerged from the underground car-park into the market square, the political partisans were in full display glad-handing, this being election season. However, unlike Ascoli where Lega Nord, Forza Italia, CasaPound, and Fratelli d’Italia hold sway, here the partisans carry the red banners of the left. I suspect that nothing like the Saturnalia-like festival of misrule that was Carnevale in Ascoli takes place here (see Linda’s previous post).
However, we were in Recanati to see the works of Lorenzo Lotto (1480-1557), a lesser-known renaissance master who was active in the Marche during the first half of the 16th Century. Tucked off into a palazzo at one end of town was a very small but marvelous exhibit of Lotto’s painting.
We first saw this portrait of a young man who is ill:
It’s remarkable to think that this work was completed in 1527; there is such deep psychological insight present as the young man ponders the impermanence of life or perhaps a lost love (note the fallen rose petals). The painting contains further symbology in that the young man has turned his back on worldly pleasures (hunting horn, lute) in favor of a virtuous, but perhaps passion-less, life (e..g, book, lizard in the light).
Turning the corner, there was something completely different:
This is not your father’s polittico. It’s in the late medieval style, but the characterizations and settings are fully Renaissance. Check out the saints in the bottom left. They’re straight out of central casting for Goodfellows.
And the painter manages to convey more life and power through the dead body of Jesus than in any other of the images:
Finally, there was this surprising Annunciazione:
I don’t know about you, but it looks to me like Mary wants no part of this undertaking. The presence of the cat is also quite mysterious, and some of the other objects in the painting are interesting. For example, note the hour-glass and the a prayer shawl (a tallit?) hanging in the background. In Lotto’s Annunciazione, the angel — a spiritual being — casts a shadow.
That was pretty much it. Only a few works, but well worth it.
After lunch, we hopped over to the next village, the shrine town of Loreto where there was another exhibit including Lotto’s works. Sadly, they did not allow photos. So I’ll conclude with the works of Lotto’s predecessors Luca Signorelli (1445-1523) and Melozzo da Forli (1448-1494) from the Loreto basilica. The work of the latter is particularly surprising and forward-looking given its three dimensional effects.