Andrea Odoni. The Portrait of Andrea Odoni is a painting by the Italian High Renaissance painter Lorenzo Lotto dated 1527, now in the Royal Collection of the United Kingdom.
In early 2019 it was on loan to the National Gallery for an exhibition of Lotto's portraits. The style is typical of Lotto's Venetian period, with denser tones, a softer chromatic range and atmospheric effects at the boundaries.
The painting is signed and dated by Lotto. Andrea Odoni was a successful merchant in Venice, the son of an immigrant to the city from Milan.
He was therefore a member, though much wealthier than most, of the ordinary cittadini rather than the patrician class who are the subject of most Venetian portraits. He inherited a collection of art and antiquities from his uncle, and considerably expanded it. His house, which Pietro Aretino implied was somewhat ostentatious, was described by Giorgio Vasari as a friendly haven for men of talent.
There has been considerable debate about the meaning Lotto, presumably together with his sitter, intended to convey with the choice of objects. The portrait hung in Odoni's bedroom, alongside paintings by Titian and Palma Vecchio, and a reclining nude by Girolamo Savoldo. The horizontal format, with which Lotto had already experimented for portraits of couples, was adopted here for a single subject, a merchant Renaissance humanist portrayed as though among his collec
In early 2019 it was on loan to the National Gallery for an exhibition of Lotto's portraits. The style is typical of Lotto's Venetian period, with denser tones, a softer chromatic range and atmospheric effects at the boundaries.
The painting is signed and dated by Lotto. Andrea Odoni was a successful merchant in Venice, the son of an immigrant to the city from Milan.
He was therefore a member, though much wealthier than most, of the ordinary cittadini rather than the patrician class who are the subject of most Venetian portraits. He inherited a collection of art and antiquities from his uncle, and considerably expanded it. His house, which Pietro Aretino implied was somewhat ostentatious, was described by Giorgio Vasari as a friendly haven for men of talent.
There has been considerable debate about the meaning Lotto, presumably together with his sitter, intended to convey with the choice of objects. The portrait hung in Odoni's bedroom, alongside paintings by Titian and Palma Vecchio, and a reclining nude by Girolamo Savoldo. The horizontal format, with which Lotto had already experimented for portraits of couples, was adopted here for a single subject, a merchant Renaissance humanist portrayed as though among his collec
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