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| Lorenzo Lotto Portrait of a Young Man with a Lamp ca. 1508 oil on panel Kunsthistorisches Museum, Vienna |
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| Lorenzo Lotto Portrait of a Bearded Man ca. 1515-18 oil on canvas Royal Collection, Great Britain |
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| Lorenzo Lotto Portrait of Micer Marsilio Cassotti and his wife Faustina 1523 oil on canvas Museo del Prado, Madrid |
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| Lorenzo Lotto Portrait of a Dominican 1525 oil on panel Musei Civici di Treviso |
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| Lorenzo Lotto Portrait of a Man holding a Golden Claw ca. 1527 oil on canvas Kunsthistorisches Museum, Vienna |
"Lotto's capacities were particularly suited to the practice of portraiture. The fineness with which he responded to the data of appearance disposed him to record the look of individuals more trenchantly than any of his North Italian or Venetian contemporaries. His emotional sensibility, matching his visual response in complexity and fineness, equally found its use in portraits; the effect of individuality of psychological characterization also is more acute in Lotto than in any of his northern contemporaries. . . . His best portraits of the later 1520s and 1530s achieve not only high expressiveness but elegance. In a few works about 1527 and 1528 Lotto uses an exceptional horizontal format (Andrea Odoni, Hampton Court; Young Man in his Study, Venice, Accademia [both directly below]) which gives him an opportunity to develop ornamental patterns like those in the sacre conversazioni of the same time. In the Man holding a Golden Claw (Vienna, Kunsthistorisches Museum [directly above]) Lotto adopts the very modern Venetian format of the three-quarter length, and takes on a protective tonality of Titianesque chiaroscuro and colour. The sitter's grace of action is impeccable, but what he is doing tends to strain a classical conception of behaviour: his movement, gesture, and quality of gaze compel an immediate and penetrating communication with the spectator. The Venetian mode of the picture moderates but does not obscure the sense of an analogy in human meaning between it and the portraiture of Pontormo in Florence at this same moment closer than that which might be made with the contemporary Titian."
– S.J. Freedberg from Painting in Italy - 1500 to 1600 in the Pelican History of Art series (London, 1971)
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| Lorenzo Lotto Portrait of Andrea Odoni 1527 oil on canvas Royal Collection, Great Britain |
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| Lorenzo Lotto Portrait of a Young Man in his Study ca. 1528 oil on canvas Gallerie dell'Accademia, Venice |
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| Lorenzo Lotto Three Studies for Portrait of a Goldsmith ca. 1525-35 oil on canvas Kunsthistorisches Museum, Vienna |
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| Lorenzo Lotto Portrait of a Lady as Lucretia 1533 oil on panel National Gallery, London |
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| Lorenzo Lotto Portrait of a Gentleman ca. 1533-34 oil on canvas Cleveland Museum of Art (Ohio) |
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| Lorenzo Lotto Self-portrait ca. 1540-50 oil on panel Museo Thyssen-Bornemisza, Madrid |
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| Lorenzo Lotto Portrait of a Gentleman 1541 oil on paper National Gallery of Canada |
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| Lorenzo Lotto Portrait of Laura da Pola 1543-44 oil on canvas Pinacoteca di Brera, Milan |
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| Lorenzo Lotto Portrait of Giovanni della Volta with his Wife and Children 1547 oil on canvas National Gallery, London |