Man with the glove

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Man with the glove (titian)
Man with the glove
Titian , around 1520 to 1523
Oil on canvas
100 × 89 cm
Louvre , Paris

Man with the Glove is the title of a painting by Titian that was created between 1520 and 1523. It is now in the Louvre in Paris. The picture is still one of Titian's early work, but it introduces the transition to his mature style. It is not known which person is represented in the portrait .

Image description

It shows a young man. The upper body is centrally facing the viewer. The face, on the other hand, is turned slightly to the side and the sitter's gaze points in the same direction. The face appears alert and focused, but otherwise shows no emotion. The hair is cut short and combed tightly. The person portrayed wears a black skirt, the color of which in the northern Italian cities of the 16th century denoted members of the aristocratic class or the upper middle class. A white shirt with a slightly ruffled collar is visible under the black skirt. Around his neck he wears a long gold chain on which an elaborately set blue gemstone hangs. Also visible are the ruffled sleeve ends, the light color of which makes the hands stand out from the dark. The sitter wears a ring on the outstretched index finger of his right hand. With the necklace and the posture of the person portrayed, this indicates belonging to a higher class. The left arm is placed on a backrest or parapet. The left hand is gloved, in one hand he is carrying the removed glove of the right.

classification

Titian's Man in the Glove is often cited as an example of the development of the individual portrait. Titian wraps the body in the darkness of the clothing and both together again with the darkness of the background of the picture. The contrast between the glove on and the glove off gives the portrait a private atmosphere. Although it is definitely a commissioned work, the portrait also gains a casualness from the sideways glance.

literature

Web links

Individual evidence

  1. ^ Nerdinger, p. 126
  2. ^ Nerdinger, p. 126