03 — ARTWORK
Portrait of a Young Man
- MEDIUM
- Oil on panel, 50 x 40 cm
- TYPE
- Portrait
PALETTE
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THIS REPRODUCTION
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CURRENT LOCATION · Palazzo Rosso
- FILE
- 750 × 1119 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
Inscription at the top, monogrammed and writing: ALBERTUS DÜRER GERMANUS FACIEBAT POST VIRGINIS PARTUM 1506.
The restoration carried out of after the Second World War involved the removal of the opaque varnish that protected this painting and revealed it to be much better preserved than was previously thought. Nevertheless, the face is not finished, and it appears slightly flat, despite the vivaciousness of the eyes. The contrast of the colours of the clothing and beret (charcoal and black, respectively) against the green background elicits a remarkable effect. So does the gentle depiction of the face framed by soft, chestnut hair. The portraitThe Roman portrait bust survived in the form of life-sized reliquaries of saints, but it was in 15th century Florence that the individual features and character of a contemporary sitter were accurately recorded by sculptors such as Donatello, Desiderio da Settignano, Mino da Fiesole and the Rossellino. A similar degree of realism occurs in 15th century tomb sculpture. The equestrian portrait, based on antique statues such as the Marcus Aurelius monument (Rome, Campidoglio), was revived in the 14th century. Two examples in fresco are Simone Martini's Guidoriccio (c. 1328; Siena, Palazzo Pubblico) and the posthumous portrait of Sir John Hawkwood (1436; Florence, Cathedral) by Uccello, which gives the illusion of a 3-dimensional statue seen from below. The Venetian Republic ordered imposing monuments from Donatello (1447; Gattarnelata, Padua) and Verrocchio (14799; Colleoni, Venice), whilst other statesmen ordered their own images to be erected in public places, directly relating themselves to the military heroes of ancient Rome. Another form of political portraiture derived from antiquity was the commemorative portrait medal designed by artists such as Pisanello. The carved or painted profile portrait became popular in the 1450s. The realism of the clear, flattened image, painted under the influence of Flemish examples by the Pollaiuolo brothers, Piero della Francesca and Botticelli, was superseded by the three-quarter and frontal portrait, psychologically more complex, such as Leonardo's enigmatic Mona Lisa (Paris, Louvre) with her momentary smile or Andrea del Sarto's arresting Portrait of a Man (London, National Gallery). The 16th century portrait became generalized, Lotto's Andrea Odoni (1527; Royal Collection) being an idealized concept of a collector rather than an individual. Group portraits, decorating whole rooms, include the narrative scenes of the Gonzaga court painted by Mantegna (completed 1474; Mantua, Palazzo Ducale) and the elaborate schemes commissioned by the Farnese family in Rome from Vasari (1546; Palazzo della Cancelleria) and Salviati (after 1553; Palazzo Farnese). Portraits were also incorporated into religious narratives, as in Ghirlandaio's fresco cycle painted for Giovanni Tornabuoni in S. Maria Novella, Florence (1486-90)., which can be considered typical of the era, can be dated accurately: a letter that Dürer sent at that time from Venice to Willibald Pirckheimer makes clear that it must have been carried out between 23 September 1506, and 23 October 1506, that is, after the Feast of the Rose Garlands (Národní Galerie, Prague) and before the Madonna with the Siskin (Staatliche Museen, Berlin).
OTHER WORKS BY ALBRECHT DÜRER
CITE THIS RECORD — BIBTEX
@online{wga-r95c465428d0718,
author = {Krén, Emil and Marx, Daniel},
title = {Portrait of a Young Man by DÜRER, Albrecht},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/drer-albrecht-r9b10ff91cb62c2/portrait-of-a-young-man-r95c465428d0718},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.