This portrait was eloquently described by Giorgio Vasari in his 1568 biography of Titian. He identified the man as a member of the Barbarigo, an aristocratic Venetian family.
The most likely candidate is Gerolamo, who was 30 years old in 1509. He had numerous political and literary contacts and would have helped the young Titian on his path to success.
The painting served as a model for the Self Portrait at the Age of 34 by Rembrandt.
Antonio Mazzotta: Titian depicted this striking portrait when he was about 20, and the young Titian was able to formulate a completely new idea of portraiture. The pose is not static, it’s highly dynamic, so the sitter is turning. As soon as you turn, your gaze is more immediate.
He wanted to give a sense that the eyes just cross yours, and that the position is going to change very soon. So it’s a moment in time, which gives a sense of immediacy and which is a technique still employed today by fashion photographers. It was really something so new and so revolutionary in this portrait. This particular pose, which is called ‘di spalla’ – looking over the shoulder – became a standard type of portrait for centuries.
We should think about Van Dyck’s portraits and remember that Van Dyck owned this portrait. We should also think about Rembrandt’s portraits, such as the National Gallery 'Self-Portrait', executed in 1640. To be represented without any doubt, without any fear, was probably what was liked about Titian’s portraits, as well as the sense of physical presence, of reality.
This portrait was probably executed in around 1511, when Titian was about 22 years old. What is really new about this portrait is that the parapet is starting to drop, so we see more of the figure. This was incredibly new. She’s really dominating. She’s this incredible iconic female figure that can be compared to the great mothers of the history of art, from Mesopotamia to the Roman matrons. Really, she’s an allegory of woman.
There are several elements that make this picture uniquely Titian, starting from how it is painted. The handling of paint, the rendering of transparencies – like this wonderful veil – and the setting of the light, is also so clever. The light is coming from the upper left and washes this very pale skin with reddish cheeks. Also, this gives a presence of a pulsating animal. In a way this is a final point of his youth, but also a starting point for his mature style.