Lorenzo was the son of the painter
Gregorio De Ferrari and Margherita Piola, the daughter of another famous Genoese painter,
Domenico Piola. He studied by making copies of work by
Guido Reni and
Anthony van Dyck, and accompanied his father to
Marseille at the age of twelve, where he worked as his assistant for two years. Upon their return to Genoa, it is also probable he assisted in the restoration of
Andrea Ansaldo's dome in the
Basilica della Santissima Annunziata del Vastato. According to Jane Turner's
The Dictionary of Art, his style was "...influenced by the graceful, elongated figures, spiraling movements and elaborate
quadratura of his father." He was also influenced by the more refined and academic work of several contemporary Genoese artists who had worked in Rome, such as
Paolo Girolamo Piola and
Domenico Parodi. He often used elements established by the Piola family in his ceiling decoration, such as pairs of
ignudi and corner ornaments. His earliest dated work,
Allegory in Honor of Doge Lorenzo Centurione, was completed in 1717 and engraved by
Maxmilian Joseph Limpach. Its complexity attests to a high degree of skill when he began working with his father on the decoration of the church of Santi Camillo e Croce, where he painted in his father's style an altarpiece
Saints Nicholas, Matthew and Lucy. He also collaborated with Gregorio in the decoration of the
cupola, the
Triumph of the Holy Cross (completed between 1715–1726). He also painted the
lunette fresco,
Heraclius Carrying the Cross to Jerusalem, simplifying his father's designs. From 1720 to 1722, Lorenzo painted an altar piece,
Virgin and child with Saints Joseph, Ignatius Loyola and Francis Xavier, for the Church of
Santi Ignazio e Francesco Saverio. In the same period, to celebrate the canonization of
Luigi Gonzaga and
Stanislaus Kostka, he designed an ornamental structure erected in the Genoese
church of the Gesú. Two years later, he completed frescoes in the
nave of
Santa Marta. Also in the 1720s he completed a vault in the
Palazzo Pallavicini-Podesta-Bruzzo, which he worked on with
Francesco Biggi, based on designs by P. G. Piola. Lorenzo later executed a fresco, according to its style executed between 1730–34, based on the stories of
Aeneas in the
Palazzo Sauli. Some time afterwards, in 1734, he visited Rome, where he is said to have met the major painters
Sebastiano Conca and
Marco Benefial. Returning through
Florence, he met
Ignazio Hugford and
Francesco Maria Niccolo Gaburri. The latter, who was
Luogotenente of the
Florentine Academy of Fine Arts, helped get him awarded an honorary membership (August 1, 1734). This trip, although short, greatly influenced Lorenzo as an artist and contribution his formation of a more intricate,
Rococo style. In 1736, he erected a series of elaborate structures, of which no trace remains today, in the
Genoa Cathedral to celebrate the canonization of
Catherine Fieschi Adorno. In the same year he collaborated with
Giovanni Battista Natali on a series of frescoes in the gallery of the
Palazzo Spinola, where the central
medallion shows
Venus and Bacchus with Cupid, all of which demonstrate his newly formed style. Circa 1738, Lorenzo decorated four highly
illusionistic frescoes in the church of Gesù, in the style of
Domenichino. Around the same time, he completed a series of vault frescoes in the
Palazzo Gio Carlo, painted to celebrate a
Doria marriage. His final work before his death was the Galleria d'Oro in the Palazzo Spinola. Never married, Lorenzo sometimes wore clerical garb and was nicknamed ''l'Abate de' Ferrari''. ==References==