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Lorenzo lotto portrait of andrea odoni





The other hand touching the heart is a gesture characteristic of Lotto's work.
Antaeus is shown wrestling with Hercules on the left, while a statue on the right, from the Vatican Belvedere court, shows Hercules with the skin of the Nemean lion.
He inherited a collection of art and antiquities from his uncle, and considerably expanded.Most of the pieces are identifiable and well-known, and are shown here either as other versions (some reduced in size) or as plaster casts.The gesture he makes with his left hand is a formal one signifying sincerity; he lays open his heart and speaks to us without guile.The head of the Emperor.1, contents, andrea Odoni (1488-1545) was a successful merchant in Venice, the son of an immigrant to the city from.A visitor to Odoni's palace in 1532 saw the painting and described its subject as "contemplating some antique marble fragments".Although monochromatic, and indeed partly ruined, the sculptures seem mysteriously animated.See also edit Whitaker and Clayton, 206 Whitaker and Clayton, 206 Whitaker and Clayton, 206 Whitaker and Clayton, 206 Whitaker and Clayton, 206 References edit Lucy Whitaker, Martin Clayton, The Art of Italy in the Royal Collection; Renaissance and Baroque, Royal Collection Publications, 2007, isbn.Renaissance picture gallery (Royal Collection Hampton Court Palace, Surrey ( ).Titian and, palma Vecchio, and a reclining nude.Classical antiquity seems revived in the form of a huge head emerging from under the table-cloth.View the work online, artist: Lorenzo Lotto (c1480-1556) was an artistic oddity, a Venetian who was never really a star in Venice.His large head, inclined a little to one side, is framed by his beard, and by his dark hair, which is parted in the middle.The portrait hung in Odoni's bedroom, alongside paintings.The humanist and antique dealer Andrea Odoni is presented amidst his collection of antiques.




At Venice, Lorenzo Lotto's place of birth, where he often stayed - the painting was executed after 1526, while Lotto was staying at Venice - there was widespread interest among the humanists in Egyptian hieroglyphics as a source of arcane knowledge tropicana aruba resort & casino phone and divine wisdom.Subject: Andrea Odoni, a Venetian merchant and collector of antiquities who had a palace in the district of Santa Croce.He is at home in this dimly-lit world of old and thought-provoking things.Inspirations and influences: Lotto's early work is influenced by the Venetian painter Giovanni Bellini, and his realism owes much to Dürer.Others may have belonged to Lotto's studio rather than Odoni.There are two maimed figures of Hercules, the classical strong-man hero, used in the Renaissance to represent civic or imperial power.This earth goddess, whose figurine is unbroken and tenderly held, appears to be contrasted with the broken bodies of powerful men that are scattered around.The small statue in the collector's hand, reminiscent of Diana of Ephesus, indicates the artist's and sitter's demonstrable interest in Egyptian religion.High Renaissance painter, lorenzo Lotto dated 1527, now in the, royal Collection of the United Kingdom.The merchant wants to demonstrate his richness of feeling and depth of reflection.This is a complex, sombre portrait, in which Odoni and Lotto conspire to reveal the inevitability of our world passing.Distinguishing features: This is a lugubrious feast of a portrait, a mournful, sensuous reverie on ancient fragments.In his lifetime and afterwards he was underrated, but to modern eyes his paintings - especially his portraits - are startling, brilliant examples of Venetian art's dialogue with northern Europe.Lotto never became rich; he ended up as a lay brother in a religious community.It almost seems as though Lotto is joking sardonically at his subject's expense, but in fact the melancholia in this painting reflects a widespread cult in the 16th century.



The much smaller torso of Venus appears to nestle up to the head, to - probably calculated - comic effect.
Lotto, with the awareness of light central to Venetian art, paints him in what feels like a cramped room, where the light is weak and distant as if in a grotto.
The generosity of his beard and hair and his soft features suggest a man of sensitivity - an appearance mirrored by the locks and beard of the marble head of the emperor Hadrian, both flatteringly (he is like Hadrian) and disturbingly (he will die like.


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