A Life in the Service of Carpi

Born in Parma around 1460, Bernardino Loschi grew up in a world where art was a family trade. He was the son of the painter Jacopo Loschi, and his brother Cosimo also followed the same path. By the early 1490s, the family had moved to Carpi, a transition that would define the trajectory of Bernardino's career. He did not merely paint for local patrons; he became an integral part of the courtly life of Alberto III Pio, the Lord of Carpi. From 1500 onwards, Loschi was a constant presence in the service of the Pio family, working on the very fabric of their surroundings.

His responsibilities extended far beyond the canvas. He was entrusted with the supervision of significant architectural and decorative projects, including the construction and decoration of the Cathedral, the church of San Niccolò, and various rooms within the castle. In the private chapel of the Castello dei Pio, he worked alongside Giovanni del Sega to create frescoes that adorned the space. His life was deeply intertwined with the physical and spiritual landscape of Carpi, leaving a mark on its churches and halls through both his brush and his management of large-scale works.

Artistic Style and Notable Works

The style of Loschi reflects the specific cultural currents of the late 15th-century Parmese and Modenese traditions. His work shows an awareness of the evolving visual language of the time, blending the influences of his upbringing in Parma with the needs of his patrons in Carpi. Some of his most significant pieces are preserved in various collections, offering a glimpse into his technical approach and his ability to handle religious themes.

His surviving works include:

• A Coronation of the Virgin with Saint Geminiano and Felice (1500), located in the church of San Felice sul Panaro.
• A Madonna and child with Saint Augustine and Nicola (1515), currently held in the Galleria Estense of Modena.
• San Rocco, a work considered his most significant achievement, located in the church of San Niccolò in Carpi.
• An Annunciation, dated 1528 and signed, which was found in San Niccolò.

In 1512, he was commissioned to paint the Portrait of Alberto III Pio, a work now held in the National Gallery of London. While the painting is not signed, its rigid frontal composition and specific details have led many to attribute it to him. This portrait, along with his religious commissions, demonstrates the range of his skill, from the formal requirements of a ruler's likeness to the more emotive demands of devotional art.