The present study reidentifies the sitter in Titian’s youthful and heretofore enigmatic Portrait of a Man (c. 1511–1512, Statens Museum for Kunst) in Copenhagen as the Venetian nobleman Andrea di Nicolò Loredan (1450–1513). Although Titian’s former master, Giovanni Bellini, is often nominated as the sitter, scholars have been hard pressed to confirm an alternately viable identity for this problematic, romanticized proposal, even as they repudiate the name of Bellini. Yet numerous fresh technical, documentary, biographical, and sartorial pieces of evidence are adduced to substantiate the model as Loredan. New IRR imaging captured of the portrait in 2025 is presented and examined here for the first time, illuminating previously invisible details of the canvas; what is revealed, among other things, is that Titian recycled his support – evidently among the first instances of a practice that later became routine in his workshops. In sum, the highly suggestive reidentification of the sitter as Loredan, one of the leading public figures and government officials in Venice at this time, consequently necessitates reassessment of the predominant view that Titian was largely not employed by major clients in Venetian or northern Italian politics in the first decade of his career. Such analysis ultimately also sharpens our understanding of the complex sartorial practices lying at the intersection of portraiture and politics in Renaissance Venice.