Portrait of a Young Man (or Portrait of a Gentleman in His Study)

Portrait of a Young Man (or Portrait of a Gentleman in His Study)

Although the name and identity information of the young man in the portrait is not recorded, the objects placed around the characters provide clues to the audience to trace and decipher his secrets. Just like the painter's consistent style, Lotto provided use symbolization of icons to refer to the young man's life and character, like a biography without words quietly telling the story. The lute, horn, and a dead bird behind the character record the character’s hunting interests, previous adventures, and achievements; the petals, ring, and letters on the table suggest a tragic or hindered intimate relationship; the fragility of the withered petals and the cold-blooded characteristics of the lizard symbolizes death and rebirth of, possibly, disease or love, which may also be the cause of the man’s’ mournfulness. However, these symbolize that the young man abandoned the secular quotidian and distraction and turned to his career and responsibility (alluded by the book in his hands). The bright green of the tablecloth echoes the vibrancy of the fine window scenery, indicating a man's vigor and liveness in his youth and heralding his career in the future. [1]

Viewers are able to attain more information through the artist meticulously depiction of the rich texture details of objects. For example, the original thick, hard leather cover of the book that the young man holds had become soft and wrinkled. The darker color blocks on the book cover at the edge recorded the history that the book had been stored and touched for ages. In the pages of the book, the rough and slightly bulged surface of the paper showed that these pages had been repeatedly browsed and written. These texture details increased the authenticity of the picture and revealed more information about the identity of the character. The sinuous folds of aquamarine blue drapery, neatly falling tassels and smooth, reflective surfaces all show that the fabrics are fine silk products. Together with the luster of the gold necklace and ring on the table, the light reflected by the black dress of the sitter, it reveals the wealthy economic conditions and possible merchant occupation of the young man in the painting. The man's eyes did not form any contact with the audiences nor gazing directly at the book, but slightly looked down at a distant place, showing he's in contemplation and not to be disturbed. The expression in his eyes was gentle and natural which reflects the calmness and solitude in his personality. The corners of his mouth did not lift up with joy nor did they appear in a natural shape in absolute relaxation. Instead, there was a trace of tension and a sense of control, which furthered his expression to seem melancholy and slightly sorrowful. Through the muscles of his cheeks and eyebrows, it was even more obvious that he was suppressing this somber feeling and a slight sense of tension.

Lorenzo Lotto (c.1480-1556) is a distinctive Venetian school artist that’s famous for the creation of some of the most engaging, puzzling, and moving high Renaissance works. The portraits by Lotto are especially attractive and influential due to the in-depth depiction of psychological emotions and traits. Lotte is under the influences of a wide range of artists, such as Giovanni Bellini, Raphael, and Titian but also developed his own stylistic individuality. [2] Neither the sponsor nor the purpose of this portrait has been recorded in history. But we can speculate that it’s commissioned by the young man in the portrait or his family members. This is likely to be one of the painters' non-noble patrons. Although his identity is unknown, according to the mercantile ledger read by men, analyzed by historian scholars, the art patron is a successful and wealthy merchant class that emerged in the 16th century. [3] The purpose of this portrait is more personal. It commemorates the young merchant’s youth and successfully outlasts the commissioner himself to narrate the time.

[1] Oettinger, April. "The Lizard in the Study: Landscape and "Otium" in Lorenzo Lotto's "Portrait of a Young Man" (c. 1530)." Artibus Et Historiae 33, no. 65 (2012): 115-25. Accessed September 29, 2020. http://www.jstor.org/stable/23509714.

[2] Humfrey, P., D.A. Brown, L. Lotto, M. Lucco, Accademia Carrara, Galeries nationales du Grand Palais (France), and National Gallery of Art. Lorenzo Lotto. Yale University Press, 1997. 1-2

[3] “Portrait of a Young Man, or Portrait of a Gentleman in His Study.” Accessed September 29, 2020. http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study.

Lorenzo Lotto

Humfrey, P., D.A. Brown, L. Lotto, M. Lucco, Accademia Carrara, Galeries nationales du Grand Palais (France), and National Gallery of Art. Lorenzo Lotto. Yale University Press, 1997. 1-2

Oettinger, April. "The Lizard in the Study: Landscape and "Otium" in Lorenzo Lotto's "Portrait of a Young Man" (c. 1530)." Artibus Et Historiae 33, no. 65 (2012): 115-25. Accessed September 29, 2020. http://www.jstor.org/stable/23509714.

“Portrait of a Young Man, or Portrait of a Gentleman in His Study.” Accessed September 29, 2020. http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study.

Image Source: GALLERIE DELL'ACCADEMIA DI VENEZIA. Portrait of a Young Man. 2020. Gallerie Accademia, Venezia. Accessed September 30, 2020 http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study

c. 1527

Liuren Yin

Oil on canvas, 97 x 110 cm

Painting

Gallerie dell'Accademia, Venice, Italy