This is one of the most creative and vibrant portraits of the Renaissance. The Venetian collector Andrea Odoni (1488-1545) held a statue of Diana of Ephesus, a symbol of nature, in one hand, and touched a cross hanging on his chest in the other. , suggesting that Christianity was more important than nature and other ancient pagan religions. Lorenzo Lotto is back in Venice after 13 years in Bergamo, where he is eager to impress potential customers. This portrait is aptly described as the finest and most ambitious of all Lotto’s portraits, a deliberate challenge to Titian’s supremacy in the field.
Ordoni was a successful Venetian businessman whose father immigrated to Venice from Milan. So although he was wealthier than most, he belonged to the common citizen (cittadini) class rather than the aristocratic class that is the subject of most Venetian portraits. He inherited a collection of art and antiques from his uncle and expanded his industry a lot. Writer and critic Pietro Aretino suggested his house was a bit pompous, but painter and architect Giorgio Vasari called it a “friendly paradise for geniuses” . Most of the current sculptures in the painting have been identified as plaster casts of the famous originals. There are three forms of Hercules: Hercules and Antaeus; Antaeus, in the skin of a lion, was considered to be Hercules of Emperor Commodus at the time, and Hercules on the far right. Venus comes in two forms: the torso in the foreground (probably Venus Victrix) and Venus bathing. There is also a bust of Hadrian in the foreground.
Note: Here are the most important painters and works of the Venetian Renaissance. <3
P.S. Odoni is certainly an art connoisseur who writes down his views on art. If you want to do the same, check out our art journal at the Daily Art Store.
104.3 x 116.8 cm
Renaissance
Royal Collection Trust
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