Rosso was one of the most talented & unconventional Florentine artists of the early 16th century. He assimilated the innovations of Leonardo, Michelangelo & Raphael but went on to experiment with brilliant colours, a freer technique & more abstract forms. This is the earliest of very few known portraits by Rosso. It was produced in Florence, while the artist was active in the workshop of Andrea del Sarto. It reveals something of his eccentricity, particularly in the strange spiky fingers, the curiously abstract style & the characteristically swift way of working the paint. Although it is not signed, the distinctive manner in which it is painted is as good as a signature. The features of the face all but dissolve when viewed close up, but the sketchy brushstrokes blend into a powerfully convincing & memorable likeness when seen from a distance. The sitter, as yet unidentified, glances up from a letter dated 22 June 1518. The letter bears further traces of writing which may yield clues to his identity. His gaze is at once dreamy yet also penetrating. This sense of psychological realism & immediacy was only just beginning to find a place in portraiture at the time the work was painted, appealing to the rising class of wealthy & intellectual patrons. ...

The sitter has in the past been identified as Lucius Cary, Viscount Falkland (1609/10
- 1643), but a documented portrait of Falkland
...

The young man depicted in this elegant portrait has not been identified. The date of the picture, 1657, is confirmed by the sitter's fashionable attire. Very little is known about the painter. He was probably living in the Dutch town of 's-Hertogenbosch when this portrait was painted. ...

The painting, which is in exceptionally good condition, probably dates from the 1480s. By then the three-quarter view had replaced the profile as the most popular type of portrait in Florentine painting. This development, & still more the use of landscap ...

An unidentified young man dressed plainly in black meets the viewer's gaze. He sits upright & motionless while behind him clouds race across the sky. The composition has been carefully centred so that a vertical line could be drawn straight down the bridge of his nose & through the fastening of his jacket. The painting has been attributed to Catena for stylistic reasons since 1897. It may be identical with a portrait recorded as the artist's work in 1643. A probable date of about 1510 has been suggested. ...

Create your own bespoke print of Sandro Botticelli’s Portrait of a Young Man from our collection. About this painting Portrait of a Young Man, probably about 1480-5 © The National Gallery, London This painting joined our collection in 1859 With our custom print service, you can order your own fully customised reproduction from the National Gallery Collection & exhibitions. Choose your own size, print material & frames & have your masterpiece delivered straight to your door. ...

Create your own bespoke National Gallery art print of Andrea del Sarto’s Portrait of a Young Man from our collection. About this painting Portrait of a Young Man, about 1517-18 © The National Gallery, London This painting joined our collection in 1862. With our custom print service, you can order your own fully customised reproduction from the National Gallery Collection & exhibitions. Choose your own size, print material & frames & have your masterpiece delivered straight to your door. ...

The identity of the young male sitter is not known. A former attribution linked the picture to the Florentine workshop of Domenico Ghirlandaio. His pose is certainly related to those of Ghirlandaio's portraits of men. However the painter has set the figure against the sky (rather than a landscape or interior setting) in a manner more akin to the Pollaiuolo brothers. ...

The sitter has not been identified. Ter Borch specialised in small full-length portraits of Dutch burghers. The portrait has been dated on the basis of style & costume to around 1663-4. It was probably painted as the pair to a ' Portrait of a Young Woman' (Clevel&, Museum of Art). ...

The man stands before a formal garden at the right & rests his arm on a pedestal decorated with a relief of a cupid overcoming Pan. The sitter was formerly identified as ' Admiral Lord Berkeley' but none of the admirals who were members of the Berkeley family was of the age of this sitter in 1679, the date inscribed on the portrait. If he is one of the earls of Berkeley the only reasonable candidate is Charles, the 2nd Earl (1649
- 1671), who was envoy to the States of Holland (1689-94). However, the only portrait which claims to represent Charles shows a different man. In the past this painting has been attributed to Caspar Netscher, while he was a student of Gerard ter Borch, but it is now considered to be a studio replica of a painting (Amsterdam, Rijksmuseum) dated 1678. The signature & date are not in Netscher's hand & were presumably added later.
...