16th century, Padua, Man at Arms

16th century, Padua

Man at Arms

Oil on canvas, 56 x 48 cm

With frame, 77 x 68 cm

The work brings together the great portrait painting tradition that saw Titian as one of its greatest interpreters. The subsequent portraits of Lorenzo Lotto and Giovanni Battista Moroni, also embellished with bright details of everyday life, continued to reflect the Venetian ideal of the image of power, coined within the territory of Venice and then spread throughout the entire Serenissima.

Leaving aside the individualizing details and here added by the probably Paduan artist, author of the present painting, the canvas examined vividly recalls some of the most important Titian portraits, an obligatory point of passage for a reflection on the theme (Portrait of Count Antonio Porcia and Brugnera, Milan, Brera Art Gallery).

The general layout, presumably a study for or of a larger painting, considering the object that the man holds in his hands and which peeks out from the underside of the canvas, respects the canonical composition of the men-at-arms in celebratory attire : it is possible to recall in this regard the Portrait of Alfonso d'Avalos, Marquis of Vasto, with a page by Titian (Los Angeles, Getty Centre), the Portrait of Alfonso I d'Este, copy of the original by Titian (Metropolitan Museum of Art, New York) and the Portrait of Giovanni Battista di Castaldo (Dickinson Gallery, London and New York) by the same author.

Thanks to the master from Pieve di Cadore, the art of the portrait became a sign of social distinction, an essential part of common Western culture, giving rise to the so-called State Portrait genre from Anglo-Saxon literature.

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