在他的一生中，洛伦佐乐透是一个备受尊敬的画家，当然受欢迎的意大利北部。他传统上包含在威尼斯学校，但他的职业生涯独立实际上安置他的威尼斯艺术舞台之外。他肯定不会像高度重视，在威尼斯是在他工作的其他城镇。他有一个风格的个性，甚至是奇特的风格。他去世后，他逐渐成为被忽视的，然后几乎被人遗忘。这可以归因于一个事实，即他的作品现在仍然是鲜为人知的教堂或省级博物馆。

鲜为人知的是，他的训练。作为威尼斯，他被影响了乔瓦尼·贝利尼，因为他有当代威尼斯绘画有很好的了解。虽然贝利尼无疑不是他的老师，影响力在他的早期绘画清晰圣母子与圣杰罗姆（1506）（苏格兰国家画廊，爱丁堡）。然而，在他的肖像和他的早期绘画善恶的寓言（1505）（国家艺术画廊，华盛顿），他显示了影响乔尔乔内的自然主义。随着年龄的增长他的风格改变了，也许是不断发展的，从独立Giorgionesque古典，一个更有活力的戏剧性SETPIECE，更让人想起了当代的帕尔马，柯勒乔。

大乐透很快就离开威尼斯。对于一个年轻的画家，本次大赛将是既定的名字，如太伟大了乔尔乔，帕尔马长辈肯定有提香。然而，瓦萨里提到在他的书的第三部分Vite的是大乐透是帕尔马的朋友长辈。

在特雷维索，该域内的繁荣小镇威尼斯共和国，他来到主教的支持下贝尔纳多·德·罗西。已经提到的绘画善恶的寓言的目的是作为一个寓言盖他的肖像主教（1505）（在今卡波迪蒙特国家博物馆，谁幸存下来的暗杀企图在那不勒斯）。绘画圣 杰罗姆在沙漠（1500或1506）（卢浮宫，巴黎），显示了他缺乏经验的青春作为绘图员，然而戏剧性的岩石景观是由圣人的红衣加剧。同时，他给他一个技能的早期印象细密。

During his lifetime, Lorenzo Lotto is a respected artist, of course, popular in northern Italy. He was traditionally included in the Venice school, but his career independence was actually placed outside his Venice art stage. He certainly would not like to attach great importance to other towns in Venice where he worked. He has a style of personality, even a strange style. After his death, he gradually became neglected and almost forgotten. This can be attributed to the fact that his work is still a little-known church or provincial museum.
Little is known about his training. As a Venice, he was influenced by Giovanni Bellini because he has a good understanding of contemporary Venice painting. Although Bellini is not his teacher, in his early paintings clearly influence the virgin and child with St. Jerome (1506) (National Gallery of Scotland, Edinburgh). However, in his portraits and his early paintings of good and evil (1505) (National Gallery of art, Washington), he shows the influence of Giorgio Hei's naturalism. As he grew older, his style changed, perhaps evolving from an independent Giorgionesque to a classical, a more dynamic dramatic SETPIECE, reminiscent of contemporary Parma, Collejo.
Lotto soon left Venice. For a young artist, this contest will be given names, such as great Giorgio, Parma elders certainly titian. However, he noted in his book the third part of the Vite is Lotto is a friend of Parma elders.
In Treviso, a prosperous town within the territory of the Republic of Venice, he came to the Bishop's support of Bernardo De, Rossi. The parable of the good and evil of painting has been mentioned as an allegory to cover his portrait of bishop (1505) (now in Carbo Dement's National Museum, who survived the assassination attempt in Naples). The painting of St. Jerome in the desert (1500 or 1506) (Le Louvre Museum, Paris), showed his lack of experience of the youth as a draftsman, but the dramatic landscape of rock is exacerbated by red sage. At the same time, he gave him a fine skills early impression.