Altar of Recanati polyptych, the right wing: martyr St. Peter and St. Vitus 1508

Editor: So, this is the right wing of Lorenzo Lotto’s "Altar of Recanati Polyptych," depicting Saints Peter Martyr and Vitus, painted in 1508. It strikes me how grounded these figures feel, despite their religious significance. What's your take on it? Curator: Considering the materials Lotto employed – oil on panel – it's interesting how he navigates the social context of Renaissance workshop practices. Oil paint itself was becoming increasingly important and commercially valuable during this time, facilitating the kind of detail we see in the saints’ clothing. Editor: That’s interesting! I was really drawn to the shininess of the armour. Curator: Precisely. Consider the labor involved in the production of such armour, from the mining of the metal to the blacksmith's forge. The armour becomes a marker of status, directly tied to economic systems and social hierarchies. Do you notice the contrasting textures? Editor: Now that you mention it, Saint Peter's robes are a stark contrast to the rigid armour of Saint Vitus. The difference speaks to different roles, right? Curator: Exactly. One embodies piety and contemplation, the other represents civic or military virtue, highlighting how visual arts like this were very often tied to trade routes and networks of patronage. They show an artist manipulating material resources and processes for conveying very specific messages. Editor: I never thought about it that way, focusing on how things were physically made. Curator: And who benefited, and at whose expense. Reflecting on these Renaissance painting beyond just their symbolic or aesthetic value offers so many compelling paths for thinking about art and its connection to everyday life! Editor: This has definitely given me a new appreciation for how art reflects, and is a product of, society!