Lorenzo di Credi

Lorenzo di Credi (1459 - Jan 12, 1537) was an Italian Renaissance painter and sculptor. He first influenced Leonardo da Vinci and then was greatly influenced by him.

Born in Florence, he started to work in Andrea del Verrocchio's workshop. After the death of his master, he inherited the direction of the workshop. For Pistoia Cathedral he completed the painting of the Madonna Enthroned between John the Baptist and St. Donatus which had been partially painted by his master, Verrocchio, but was left unfinished when Verrocchio went to Venice.

His training took place in the workshop of Verrocchio from which he derived the finished style built with incisive and precise lines, ways that influenced his condiscepolo Leonardo, later the parties exchanged and was Lorenzo to accept the blurred and subtle veils of Leonardo.

Amongst his other early works are an Annunciation in the Uffizi, a Madonna with Child in the Galleria Sabauda of Turin, and Adoration of the Child in the Querini Stampalia of Venice. Of a later period are a Madonna and Saints (Musée du Louvre) (1493) and an Adoration of the Child in the Uffizi. In Fiesole, he remade parts of Fra Angelico's panels on the altars of the church of San Domenico.

After 1497 he became a follower of Savonarola and rejected the profane subjects. In his mature activity he also looked at Fra Bartolomeo, Perugino and the young Raffaello, at this stage are the Crucifixion of the Museum of Gottinga, the Annunciation of Cambridge.

Work:
In recent times, one of di Credi's works gained attention when scholars pointed out a resemblance between the face of Mona Lisa by Leonardo da Vinci and the face of Caterina Sforza in a portrait by him. Caterina Sforza was the Lady of Forlì and Imola in Romagna, later prisoner of Cesare Borgia. The portrait, known also as La dama dei gelsomini, is now in the Pinacoteca of Forlì.

Lorenzo's mature works (such as the Crucifixion in the Göttingen City Museum, the Adoration of the Shepherds of the Uffizi, the Annunciation in Cambridge and the Madonna and Saints of Pistoia) are influenced by Fra Bartolomeo, Perugino and the young Raphael.

For the shop he performed the Madonna of Piazza in the Duomo di Pistoia, a work commissioned by Verrocchio, completed with the help of other students including Perugino and perhaps Leonardo da Vinci (of whom we hypothesize the paternity of the tablet of the predella depicting the Annunciation, Often attributed to Lorenzo himself).

Among the young works are the Madonna and Child of the Galleria Sabauda in Turin, the round with the Adoration of the Child of the Fondazione Querini Stampalia in Venice, and later are the Madonna and Saints of the Louvre dating from 1493 and the Adoration of the Shepherds of the Uffizi. In particular, it has triggered a heated debate on the Portrait of Catherine Sforza or Dame of the jasmine, now kept in Forlì, in the Civic Picture Gallery, especially since a German scholar, Magdalena Soest, carefully studying it, came to the conclusion that Monna Lisa is actually Caterina Sforza [1]. These works are considered the best in his production, in which he joined the Verrocchian influences with suggestions of Leonardo's softness and a flamboyant attention to detail.

In Fiesole, however, he made important remodeling to the first of the three tables of the Blessed Angelico for the altars of the church of San Domenico: the so-called Pala di Fiesole (its architecture, canopy, landscape and floor expansion). In the sanctuary of the Pieve di San Pietro in San Piero a Sieve there is a painting depicting the Madonna and Child attributed to him.

Works:
Years 1470:
The Virgin and Child and Saint Francis, 1472
Altarpiece of the Virgin with St. John and St. Donatus, commissioned at Verrocchio by the executors of Donato de 'Medici in 1474-1486 for the Chapel of the Blessed Sacrament or San Donato of the Dome of Pistoia. Left unfinished by Verrocchio, it was completed by his pupils. (Translated from the Wikipedia article in Italian Cattedrale di San Zeno). It is now scattered. Panels attributed to Lorenzo di Credi:
Madonna di Piazza, central panel. The bishop on the side of the Virgin was also identified as St. Zeno of Verona.
Annunciation, central element of the predella, 16 × 60 cm, disputed assignment with Leonardo da Vinci, Louvre Museum, Paris
The Miracle of Saint Donatus of Arezzo4, 16.6 × 33.5 cm, Worcester Art Museum, Massachusetts
Madonna and Child Madonna, Strasbourg, 1475, Museum of Fine Arts of Strasbourg
Madonna Dreyfus (copy of Leonardo da Vinci?), About 1475-1480, National Gallery of Art, Washington

Years 1480-1490:
The Adoration of the Child, c. 1480, Fondazione Querini Stampalia, Venice
The Adoration of the Child with Saint John the Baptist child, 1480, mixed technique on poplar, diam. 86 cm, Staatliche Kunsthalle Karlsruhe
Caterina Sforza, 1481-1483, Pinacoteca Civica di Forlì. His resemblance to the Mona Lisa of Leonardo da Vinci was emphasized.
Annunciation, around 1480-85, Uffizi Museum, Florence
Holy Family, circa 1490, Gemäldegalerie Alte Meister, Dresden
The Virgin and Child between Saint Julien and Saint Nicolas de Myre, 1494, Musée du Louvre, Paris
Venus, c. 1493-1494, Uffizi Museum, Florence
Portrait of a Young Girl, 1490-1500, 58.7 × 40 cm, Metropolitan Museum, New York

Years 1500-1520:
Portrait of Perugino (disputed award with Raphael), ca. 1504, Uffizi Gallery, Florence
Adoration of the shepherds, c. 1510, Uffizi Museum, Florence
Adoration of the Child, 1510, tempera on wood, 88.9 cm tondo, Albright-Knox Art Gallery, Buffalo.
Elevation of Mary Magdalene, c. 1510, Christian Museum, Hungary
Adoration of the Child, 1510-1520, Czartoryski Museum, Krakow
Virgin with Child with Saint John the Baptist, 1510-1520, oil on poplar tree, 37 × 27 cm, Gemäldegalerie Alte Meister, Dresden
Madonna and Two Saints, 1510-1520, 175 × 176 cm, Gemäldegalerie Alte Meister, Dresden8
Virgin and Child with St. John the Baptist and Two Angels, 1510-1520, Museum, John Paul II Collection, Warsaw
Saint Francis of Assisi receiving the stigmata, Fesch Museum, Ajaccio
Virgin and Child, 1520, Cincinnati Art Museum
He also owes a complete revision of the altarpiece of Fiesole de Fra Angelico, during the modernization of its exhibition site, the church of the Convent of San Domenico.
https://hisour.com/artist/lorenzo-di-credi/