The Odoni Portrait
In 1527, Andrea Odoni commissioned Lorenzo Lotto to paint his portrait, which in addition to its intriguing subject is recognised for its groundbreaking influence on Renaissance portraiture. It is one of the few works from the Odoni collection that survives. Reinserting the portrait into the context of its original collection allows us to look closely at the painting, its artist and its patron, and delve more deeply into the meaning behind its carefully curated setting.
Lorenzo Lotto, Portrait of Andrea Odoni (1527), oil on canvas. London, The Royal Collection Trust.
Innovation
This portrait is the product of the ambition and ingenuity of two men, patron and artist, who brought something new and bold to the portraiture of the time. Odoni made an unconventional choice in selecting Lorenzo Lotto to paint his portrait. Lotto (c. 1480–1556/57) had only just returned to Venice after more than a decade in Bergamo and therefore fell outside the ranks of the city’s more popular portrait painters. The timing of this meant that Lotto was eager to re-establish himself, and the Odoni commission provided him with an opportunity to demonstrate his talent and flare to attract new Venetian patrons. Odoni's risk in choosing Lotto paid off: the portrait earned the praise of visitors to the Odoni household including Giorgio Vasari, who described it as molto bello, very beautiful, following his visit to Venice in the 1540s.
Titian, Portrait of Jacopo Strada (1567),
oil on canvas. Vienna, Kunsthistorisches
Museum.
With the Odoni portrait, Lotto forged the path for the ‘portrait of a collector' genre. Its influence even made an impact on the most prestigious artists of the period, including Titian (c. 1488-1576), who constructs a similar scene in his Portrait of Jacopo Strada (1567). In addition to its genre, a particularly innovative aspect of the Odoni portrait is that it is horizontal. Breaking with the convention of a vertical portrait, this would have stood out from other Venetian portraits at the time. Its widened format allowed Lotto to build a narrative in the space around Odoni in a way that was unprecedented. Ironically, only one object in Odoni's portrait, the bust of Hadrian, actually belonged to Odoni; the others are thought to have belonged to the artist for use in his workshop. Rather than painting Odoni among his possessions as if it were a visual inventory, Lotto paints something more complex. He suggests the psychological and intellectual aspect of being an art collector: the affinity verging on obsession, the confidence, pride, and implied knowledge of classical culture and history. He also captures the interaction between viewer and painting that art solicits; in meeting Odoni's direct gaze, the viewer is invited to look further.
Learn more about the objects in the Odoni portrait below:
Iconography
The painting’s iconography reveals aspects of his identity that, through Lotto's skilful hand, Odoni wanted to highlight. Odoni radiates grandeur through his luxurious clothing: the sumptuous cloth, and the sheer quantity of it in his exaggerated sleeves, draw attention to his wealth. The numerous statues surrounding him, referencing his vast statuary collection, imply that this man is an enthusiast of —indeed an expert in— ancient and all’antica (ancient-inspired) sculpture. To place himself among images of antiquity suggests that he sought to be considered a person with the qualities of sophistication and intellect that were associated with classical culture. While Odoni would have been well-trained in matters of business, it is less likely that a person of his profession and social standing would have received a humanist education. This raises the question: was he posturing as someone more educated than he really was? Or was this enigmatic man self-taught through his passion to become distinguished in this way?
Detail of Portrait of Andrea Odoni before 1996 restoration
Detail of Portrait of Andrea Odoni after 1996 restoration
A 1996 restoration of the painting opened up new interpretations of the painting's key message when it uncovered a crucifix in Odoni's left hand. Before the restoration, viewers saw Odoni surrounded by sculpted depictions of classical figures and deities. However, some interpret the placing of the crucifix close to his chest as a sign of his devotion to Christianity over and above his interest in antiquity, which is further symbolised by his pushing away of the statuette of the pagan goddess. An alternative reading of the painting is that by holding these symbols of Christianity and antiquity, one in each hand, Odoni suggests the two can be reconciled, as was widely debated during the Renaissance.