The Portrait of the Gentlewoman was probably painted to accompany and engage in dialogue with the first version of the Portrait of Count Bartolomeo III Arese (1610–1674), senator and president of the Magistrato ordinario (1641), executed by Carlo Francesco Nuvolone (1608/9–1661/2) around 1650. The identical dimensions of the canvases and the matching frames in which they are set suggest the couple’s intention to have the two portraits displayed as a pair. Although not mentioned in the inventories of the Palazzo Arese Borromeo collection, they were most likely housed in the family’s Milanese residence on Corso di Porta Vercellina (today Palazzo Litta on Corso Magenta).
The provenance of the painting, which arrived at the Palazzo from the antiques market, together with the unmistakable style of the painter, allows us to identify with near certainty the portrayed gentlewoman as Countess Lucrezia Omodei Arese (1612–1687), widow of Cesare Visconti Borromeo and later wife of Count Bartolomeo III Arese, whom she married in 1634.
The lady is depicted half-length, in a three-quarter pose. The skillful use of light highlights the defining features of her face—grayish-pearl tones warmed by rosy shadows—reflecting her character. Her subtle mouth hints at a smile, emphasizing the lower lip, while her slightly aquiline nose and large dark eyes gaze intently at the viewer. Her right hand gently touches the gilded knob of a chair’s backrest; her left rests on her hip, softly supporting the folds of her gown. Her face is framed by a voluminous curled hairstyle in the Spanish fashion—probably a wig—from which her precious earrings emerge. Around her neck she wears an elegant string of pearls, so lustrous they appear almost crystalline.
In the upper left, a fold of red drapery serves as a backdrop, held by a cord with a red tassel. The background lightens behind the lady, emphasizing her noble presence. Contributing to the restrained dignity of her appearance is her black gown, crowned by a high collar of fine lace and muslin, probably supported by a thin metal frame. The bodice features a central silver embroidery with groups of three small buttons—probably silver—arranged in a zigzag pattern. At the waist, the bodice flares outward into an embroidered peplum ending in a point. Over the bodice lies a robe-like mantle with wide open sleeves, accented at the shoulders by embroidered tabs. The sleeve edges are similarly decorated with embroidery and spaced groups of three silver buttons.
THE RESTORATION
In 2025, the Portrait of Lucrezia Omodei Arese underwent restoration. Ultraviolet light examination revealed the painted surface to be covered with extensive overpainting and a thick layer of oxidized varnish, which altered the chromatic perception. After the removal of intrusive repainting from previous restorations, the pictorial retouching was carried out using the “mimetic” technique, limited exclusively to areas of actual loss, with extra-fine pigments and reversible synthetic resin binders. The final varnish was given a satin finish, designed to enhance the color tones without creating excessive light reflections, ensuring optimal viewing conditions for the artwork.
THE NEW PLACEMENT OF THE PAINTINGS
Since their arrival at the Palazzo, the portraits had been displayed in the Sala dei Fasti Romani. In agreement with the Soprintendenza and on the occasion of the restoration, it was decided to relocate them to a space more suitable for permanently housing the portraits of the two spouses. The chosen setting is the room leading to the Loggia, characterized by its smooth plastered walls: the neutral, uniform background allows the works to be fully appreciated, enabling visitors to enjoy their beauty without distraction.
This space is located in the southern wing of the Palazzo, where the private quarters of the Arese family were originally situated. In particular, the room leading to the Loggia formed part of Count Bartolomeo III’s private apartment. The new placement, motivated both by safety and by improved accessibility, thus proves especially appropriate, being closely linked to the master’s private life and rich in historical significance.