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This soberly-clad man gazes out at us. His dress is typical of the mid-16th century, but the painting is poorly preserved, which makes identification of the sitter & artist difficult. ...

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This unidentified sitter is wearing chain-mail sleeves & a tunic of a type worn under a breast plate. This is an example of the intimate portraits of small format which Moroni made from male sitters. ...

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In the background is a landscape tapestry. The painted landscape over the fireplace is in the style of the Haarlem School of the 1630s. The door in the left background leads to a room with contains a chair & a bed. Pieter Codde, who worked in Amsterdam, ...

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At the upper left & right are two coats of arms, signed under the left-hand shield with Cranach's device. Inscriptions on the reverse of the panel identify the sitter as Franz von Sickingen or, alternatively, a member of the Luther family. The left-hand coat of arms, however, is that of Johann Feige, Chancellor of Hesse (1482?
- 1543). As the sitter seems to be older than 45 years which biographical information suggests, another member of the Feige family may be shown.
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TThe sitter has in the past been identified as the wife of the man in ' Portrait of Man in his Thirties', but the two works do not appear to be pendants. The costume is of the early 1630s but it is possible that an older woman would still have worn it at a later date. The portrait has been dated to the second half of this decade, by comparison with works such as the ' Portrait of a Woman' of 1639 (Ghent, Museum voor Schone Kunsten). The painting is probably cut down at the sides & bottom. ...

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The sitter has not been identified. He holds a palette & brushes, & is thus almost certainly a painter. This was once thought to be a self-portrait of the painter Benedetto Gennari (1633
- 1715) but there seems no reason for this attribution. It has s
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The painting has been supposed to represent a poet for the figure has a book in his hands & there are laurels (with which poets were crowned) behind him. It probably dates from about 1516 when the poem ' Orlando Furioso' was published & achieved instan ...

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The sitter wears the cassock, collar & cap of a priest but he has not been identified. The portrait probably dates from the latter part of the period that the artist spent in Brescia (1721
- 34/5). The painting was formerly attributed to the Venetian pai
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The costume of the child could date from as early as the late 1630s but not later than 1645. The collar of the woman is in a much earlier fashion. In the past the painting has been attributed to Aelbert Cuyp & Jacob Gerritsz. Cuyp, but neither suggestion ...

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The sitter's identity is uncertain. It has been suggested that she is the Marchesa Cattaneo on the basis that she was painted as a pendant to Van Dyck's ' Portrait of Giovanni Battista Cattaneo'. An old label on the back of a copy of this picture (South Ca ...

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Portrait Of A Musician

The sitter, who holds a pair of dividers, may be a musician or a maker of instruments. Bernardino Campi was one of the leading painters in Cremona and Milan in the mid-16th century. He is known to have painted numerous portraits. Few of these have been id

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Supplier: National Gallery
SKU: NG2511

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