He was born in Livorno into an affluent family sensitive to art and studied music with the violinist Ettore Martini. In 1881 the family moved to Bellariva, near Florence, hosting the "Macchiaiolo" painter Silvestro Lega for the artistic training of his children. Lodovico's marked propensity for painting is refined in this context, without academic teachings. At the beginning the influence of Lega for the study of nature from life and the use of rapid juxtaposed color strokes is strong, but in Ludovico a particular sensitivity for color is already evident. In the mid-90s he frequented with his brother Angiolo Torre del Lago (Lucca) and the circle around Giacomo Puccini, where he became friends with Plinio Nomellini, who influenced him. In the first decade of the twentieth century, he therefore moves away from the pure description of reality to return landscapes dense with lyricism and sentiment, in which the brushstroke falls apart, the colors become evocative, the human figures interpenetrate with a nature full of symbolic meanings, change which is already perceived in The Fall of the Leaves (1897), here in the Museum, and is evident in I calafati (1911, now Livorno, Livorno Foundation). In the 10s, however, the need to represent reality returned, reconnecting with the "Macchiaioli" tradition, albeit with a personal attention to the contrasts between colors and a sort of musical harmony of tones. His works are exhibited at the main local and national events: in Livorno he is at the First Fine Arts Exhibition of 1886 and at subsequent exhibitions; he participates continuously in the Venice Biennale from 1899 to 1936. He dies in Florence at the age of 74. His paintings are remembered: La Bella Riva sull'Arno near Florence; Via delle Rughe in Montepulciano; Lake Massaciuccoli and End of the day, purchased by the Royal House; Pistoia mountain, exhibited in Turin in 1898; Radicofani; Towards the walk of the sun, exhibited in Turin in 1902; La madre, exhibited in Nice, at the Italian Exhibition, and the following works, all sent to the Venetian Biennials: in 1899: Towards the sun and peace and Spring and autumn; in 1901: Ore tired and In the olive grove; in 1903: The farewell to the sun; in 1905: Dawning and Autumn Vision; in 1907: The Panisco and Human Nights; in 1909: Quercus uber and II fuoco; in 1910: Saturnia téllus and Sotto il glicine; in 1912: Tuscan fields and La pineta; in 1914: 3 lithographs; In the shadow of the olive tree and In the garden; in 1920: "Jn-gruente nimbo"; Tuscan market and country; in 1924: Mends; In family; The Legion and Harmonies; in 1926: Tuscan country; Madre and Monachine in the pine forest; in 1930: Country and Simple Life; in 1932: Cuginetti and Old housewife.