Born in Munich in 1632, Johann Carl Loth (also known in Italy as "Carlotto") was the son and pupil of Johann Ulrich Loth, court painter to the Elector of Bavaria. Around 1650, the young artist traveled to Rome to continue his studies before settling permanently in Venice by 1663, where he would remain until his death in 1698. In Venice, Loth encountered a circle of painters including Antonio Zanchi, Pietro Liberi, and Giovan Battista Langetti, whose dramatic use of light and shadow earned them the nickname Tenebrosi (the dark ones). This group developed a distinctive style characterized by powerful contrasts between illuminated figures and deep shadows, expressive gestures, and an emphasis on physical and emotional intensity. 

Loth quickly established himself as one of Venice's most sought-after painters of both devotional easel pictures and large-scale altarpieces, though his fame reached far and wide. [2] His work combined German thoroughness in rendering detail with Venetian colorism and the dramatic lighting effects derived from Caravaggio's legacy. His influence extended far beyond Venice through his numerous pupils, including the important Austrian painter Johann Michael Rottmayr and the Bavarian Daniel Seiter, ensuring that his dramatic Baroque idiom shaped southern German and Austrian painting well into the 18th century. 

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[1] For more on Loth’s life and work, see Gerhard Ewald, Johann Carl Loth 1632-1698, Amsterdam, Menno Hertzberger, 1965, the standard monograph on the artist.

[2] Arnold Houbraken, in his De groote schouburgh der Nederlantsche konstschilders en schilderessen (Amsterdam, 1718-1721), praised Loth as one of three great masters named "Carl" or "Karel," alongside Karel Dujardin and Carlo Maratta (Karel Marat), indicating his high reputation in Northern Europe during and shortly after his lifetime.