Dutch school; first half of the seventeenth century. "Portrait of a gentleman". Oil on panel....
Dutch school; first half of the seventeenth century. "Portrait of a gentleman". Oil on panel.
Dutch school; first half of the seventeenth century.
"Portrait of a gentleman".
Oil on panel.
Presents restorations, repainting and slight damage.
Size: 71 x 58 cm; 92 x 77 cm (frame).
We see in this work a male portrait that presents us a gentleman of mature age, with a thick beard, soberly dressed in a suit of armor, on which is superimposed a large white ruff. The luminosity of the face stands out in this work, contributed by the flesh tones and a spotlight, directed towards the face. The author has wanted to emphasize especially the look, which the protagonist fixes directly on the spectator, a feature that tells us about the psychology of the character, breaking in part the protocol distance typical of the baroque portrait. The composition is sober, typical of the Dutch portrait painting of the time: the character appears with a long bust, turned three-quarters with his head slightly turned to the front, in the foreground, against a neutral, dark background, although somewhat more illuminated around the head of the character. His face is modeled through a contrasting light of tenebrist heritage.
The portrait, both individual and group, and even the character portrait, embodies the relationship of the individual with society and, therefore, with the State. This genre covers a third of the total production of the Dutch Baroque, and its main renovator in Holland is Frans Hals who, thanks to the power with which he marked the character of his models, penetrating their personality to the point of giving them vitality and spontaneous truth, was able to free himself from the prevailing late mannerism, giving rise to a new conception of the portrait. Faced with the exuberant and elegant Mannerist portrait, of virtuous and elaborate execution, at the beginning of the 17th century a general reaction was unleashed, based on compositional austerity and operational sobriety. Thus, against the desire for virtuosity of the previous century, the portraitists of the Dutch Baroque recovered the previous models in a more sober and solid way, focusing on the characterization of the characters, the elegance of the poses and the delicate capture of the qualities of the different objects.
Italian school; 17th century.
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Dutch school; first half of the seventeenth century. "Portrait of a gentleman". Oil on panel.
Dutch school; first half of the seventeenth century.
"Portrait of a gentleman".
Oil on panel.
Presents restorations, repainting and slight damage.
Size: 71 x 58 cm; 92 x 77 cm (frame).
We see in this work a male portrait that presents us a gentleman of mature age, with a thick beard, soberly dressed in a suit of armor, on which is superimposed a large white ruff. The luminosity of the face stands out in this work, contributed by the flesh tones and a spotlight, directed towards the face. The author has wanted to emphasize especially the look, which the protagonist fixes directly on the spectator, a feature that tells us about the psychology of the character, breaking in part the protocol distance typical of the baroque portrait. The composition is sober, typical of the Dutch portrait painting of the time: the character appears with a long bust, turned three-quarters with his head slightly turned to the front, in the foreground, against a neutral, dark background, although somewhat more illuminated around the head of the character. His face is modeled through a contrasting light of tenebrist heritage.
The portrait, both individual and group, and even the character portrait, embodies the relationship of the individual with society and, therefore, with the State. This genre covers a third of the total production of the Dutch Baroque, and its main renovator in Holland is Frans Hals who, thanks to the power with which he marked the character of his models, penetrating their personality to the point of giving them vitality and spontaneous truth, was able to free himself from the prevailing late mannerism, giving rise to a new conception of the portrait. Faced with the exuberant and elegant Mannerist portrait, of virtuous and elaborate execution, at the beginning of the 17th century a general reaction was unleashed, based on compositional austerity and operational sobriety. Thus, against the desire for virtuosity of the previous century, the portraitists of the Dutch Baroque recovered the previous models in a more sober and solid way, focusing on the characterization of the characters, the elegance of the poses and the delicate capture of the qualities of the different objects.
Italian school; 17th century.
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