Lotto’s San Bernardino Altarpiece (1521)
Art scholars are in wide agreement that Lotto’s works reveal a profound adherence to themes involving the Imitation of Christ. It was both a Christocentric practice in the Renaissance and the title of an enormously popular book which we know was in Lotto’s library.1 (For a brief but better understanding of how Lotto would have practiced Christianity, see The Inner Tradition.) Lotto, in this respect, is little different from many other artists over the centuries except that scholars have recognized in Lotto’s art much of what their academic colleagues miss elsewhere. Nevertheless, based on the catalogue of the current Lotto exhibition in Rome (March - June 2011), they still fail to see the implications of their insight: that Lotto's religious scenes take place in his own mind and are, thus, all allegories of his own creative process.2 Here, as an example of how the ordinary art lover can make their own way into a painting, we take a look at a figure seemingly extraneous to the central subject.
An angel in this Bergamo altarpiece writes in a book while turning around to look out of the canvas. His figure seems like a minor detail but is so charmingly posed that it was chosen for the cover of the catalog, a demonstration, I believe, of the figure’s significance even if the experts who chose him cannot consciously explain his importance.
It could be the result of the light on his face because the only other figure who looks out of the image is the Virgin directly above him whose own face is in shade. She also gestures towards him, drawing attention away from herself and signaling his importance. As a result the composition does not revolve around the Virgin and Child, as you might expect, but this little angel. The only other figure brightened by the light behind us, as though lit from a studio window, is Joseph who does not look at his wife and son but, again, directly down at our angel.
The catalogue reports that he is carefully and accurately recording the pleas of the faithful.3 How they know that, I am not sure. The page we see is blank. so there is no evidence for their claim and they provide none. It seems like guess-work from the Church’s point-of-view not the artist’s. A regular user of this site, though, will probably recognize the "over-the-shoulder pose" as that of an artist looking out over his shoulder to paint in the mirror. That is exactly what is happening. Lotto signed his name by the angel's foot as if to emphasize that "this is me."
Once again, as in Velazquez's Las Meninas and Manet's Olympia, the entire surface of the picture is a mirror. The angel-artist turns to look in the mirror and sees the same scene we do, all from his point-of-view which is inside Lotto's mind. (Mirrors and other reflective surfaces are age-old symbols of the mind.) Regardless of what the Church might have thought the angel was up to, there can be little doubt from the poetic point-of-view what artists would have thought. The angel is a representation of "Lotto the artist" drawing or painting the very scene we are looking at.
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Lotto, like many medieval artists before him, has also used the writing of a religious text as a metaphor for drawing and painting. The angel, therefore, is not extraneous to the central theme but fundamental to its whole conception. It is through the angel that we understand the scene, not as an illustration of the Bible or Church doctrine, but as inside Lotto’s creative mind.4
See conclusion below
More Works by Lotto
Once again, see how the hilt of a sword signs the artist's name
Find out how a realistic portrait is something else entirely
Original Publication Date on EPPH: 24 Mar 2011. © Simon Abrahams. Articles on this site are the copyright of Simon Abrahams. To use copyrighted material in print or other media for purposes beyond 'fair use', you must obtain permission from the copyright owner. Websites may link to this page without permission (please do) but may not reproduce the material on their own site without crediting Simon Abrahams and EPPH.