court of Duke Ludovico Sforza. There he painted the
Virgin of the Rocks (circa 1482-1483; Paris, Louvre) and
the fresco of the Last Supper in Santa Maria delle Grazie
(circa 1495-1496). Leonardo left Milan in 1499 and vis-
ited Mantua and Venice. Returning to Florence in 1500,
he painted the Mona Lisa (circa 1503) and began work on
the Virgin and Saint Anne (circa 1508-1510), both in the
Louvre. In 1506 he was invited to work for the French
crown in Milan. There he stayed through 1513, save for
a visit to Florence between the autumn of 1507 and that
of 1508. Leonardo visited Rome in 1513 and in 1516 ac-
cepted the invitation of Francis I to live in France, where
he spent the last years of his life.DANIEL LINDTMAYER
Schaffhausen 1552-circa 1606/07
Born into a family of artists active in Schaffhausen,
Lindtmayer probably trained there as a mural painter and
designer of stained-glass windows. Around 1574-1575
he journeyed to Basel and on to Feldkirch in the Austrian
province of Vorarlberg, where he married. He became
an independent master in Schaffhausen in 1577 and was
active there for the next eighteen years. Occasionally, he
traveled to other towns to carry out commissions, work-
ing in Konigsfelden in 1580/81 and Paradies in 1582/83.
In 1595 Lindtmayer tried to murder the goldsmith Stulz
in Constance, but escaped punishment on grounds of in-
sanity. He is documented in the Swiss city of Schwyz in
1597 and in Lucerne around 1598-1601. About this time
Lindtmayer probably converted to Protestantism. He
was in Wolfenschiessen around 1602 and died at an un-
known location around 1606/07. Lindtmayer's surviving
oeuvre consists of approximately 350 drawings, includ-
ing many designs for stained-glass windows, seven
woodcuts, four etchings, and several paintings.CLAUDE LOR RAIN (Claude Gellee)
Champagne 1600-Rome 1682
Around 1613 Claude traveled to Italy, where he appren-
ticed with Agostino Tassi. Between 1618 and 1620 he
probably lived in Naples as a pupil of the Fleming Gof-
fredo Wals. Following a brief visit to Nancy in 1625-
1626, Claude returned permanently to Italy. Influenced
by Tassi, Adam Elsheimer, and Paul Bril, he is celebrated
for the development of the ideal landscape, alive with at-
mospheric variations and the changing qualities of light.
The idyllic beauty of the Roman countryside appealed to
him as much as its ruins did. His work attracted many
prominent patrons, including Pope Urban VIII.
Claude's Liber veritatis, begun in 1636 (London, British
Museum), was composed as a lifelong record of com-
pleted paintings in the form of drawings. In addition it
was meant to protect him against the many forgeries of
his work. Claude's masterpieces include Ulysses Returns
Chryseis to Her Father (1644; Paris, Louvre) and Landscape
with Parnassus (1652; Edinburgh, National Gallery of
Scotland). In later years the significance of the figure in-
creased in his work as he selected subjects from the Bible,
mythology, and classical antiquity; this can be seen in
View of Carthage with Dido and Aeneas (1675; Hamburg,
Kunsthalle).LORENZO LOTTO
Venice circa I48o-Loreto circa 1556
Lorenzo Lotto, one of the major Venetian artists of the
Renaissance, worked primarily in the provincial cities of
the Marches and Lombardy. The formation of his early
style was influenced by the example of Giovanni Bellini
and, later, by Raphael, Titian, and Diirer. From 1505 to
1507 he lived in Treviso, where he painted such moving
altarpieces as the Assumption of the Virgin (1506) for the
cathedral at Asolo. His work in Rome around 1509 was
followed by a long, successful period (1513 -1523) in Ber-
gamo. Among his most well-known paintings from this
time are the Madonna Enthroned with Saints (1521; Santo
Spirito) and the matrimonial portrait Marsilio Casotti and
His Wife (1523; Madrid, Museo delPrado). Returning to
Venice in 1526, Lotto lived during the next twenty-six
years in his hometown and in Jesi, Treviso, and Ancona.
His last major altarpiece was the Assumption of the Virgin
(1550) for San Francesco delle Scale in Ancona (Ancona,
Pinacoteca). Shortly after he completed this work, in
1552 , Lotto retired to the monastery of Santa Casa in
Loreto.AURELIO LUINI
Milan circa 1530-1593
Aurelio Luini was the son and pupil of Bernardo Luini
and the brother of the painter Gian Pietro, with whom
he occasionally collaborated. Aurelio's early style, as seen
in the fresco cycle of the Life of Christ (begun 1555;
Milan, San Maurizio) recalls that of his father and unites
the Lombard attention to detail with the soft, chiaroscuro
modeling of Leonardo. As a mature artist, Aurelio em-
ployed a style approximating that of the counter-man-
iera, adopting monumental figures that were eloquent in
gesture and pious in demeanor. These characteristics are
apparent in the Baptism of Christ in San Lorenzo, Milan,
and the frescoes for Santa Maria di Campagna, Pallanza.
Aurelio received the majority of his commissions from
religious societies, and his works still decorate many
churches in and around Milan, including the Duomo,344 ARTISTS BIOGRAPHIES