Portrait of a Clad Warrior: Difference between revisions
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{{Short description|c. 1529 painting by Giovanni Girolamo Savoldo}} |
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{{Infobox Artwork |
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| image_file=Giovanni Gerolamo Savoldo 004.jpg |
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| title=Portrait of a Clad Warrior |
| title=Portrait of a Clad Warrior |
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| year=c. 1529 |
| year=c. 1529 |
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| medium=oil on canvas |
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| height_metric=91 |
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| width_metric=123 |
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| metric_unit=cm |
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| imperial_unit=in |
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| city=[[Paris]] |
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==History and description== |
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The subject is traditionally identified with the French military leader [[Gaston de Foix]], or a self-portrait, although there is no documentary evidence of both hypotheses. |
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The subject was traditionally identified with the French military leader [[Gaston of Foix, Duke of Nemours]], or as a self-portrait, although there is no documentary evidence for either hypothesis. The identification with Gaston de Foix is devoid of documentary evidence, as well as certainly improbable, since it would have been a posthumous portrait lacking the composure more suited to this purpose.{{Citation needed|date=January 2024}} |
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The painting |
The painting depicts a man wearing military armor in a small room with two mirrors. In a narrow space, the man is portrayed leaning against a shelf, while he also leans forward towards the viewer, settling along a deep diagonal, which ends with his outstretched left arm, indicating the reflected image. The presence of the triple image (front, back and side) certainly refers to a lost painting by [[Giorgione]], who had been created to demonstrate the superiority of painting in the lively debate on the "[[paragone|comparison of the arts]]". Savoldo, like Giorgione, wanted to demonstrate that painting was also capable of representing multiple views of the same subject, in the same way as sculpture, and without having to go around it.{{Citation needed|date=January 2024}} |
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The theme of light and reflections is also magnified by the metallic luster of the armor and the red velvet sleeves, which create those chromatic flashes between dense and dark shadow fields, typical of the painter's production.{{Citation needed|date=January 2024}} |
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==See also== |
==See also== |
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*[[Portrait of Andrea Odoni]] |
*''[[Portrait of Andrea Odoni]]'' |
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==External links== |
==External links== |
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*[http://cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=22873&langue=fr Page at the museum website] {{ |
*[http://cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=22873&langue=fr Page at the museum website] {{in lang|fr}} |
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[[category:1520 works]] |
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[[category:Portraits|Clad Warrior]] |
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{{Giovanni Girolamo Savoldo}} |
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[[it:Ritratto di Gaston de Foix]] |
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{{Authority control}} |
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{{DEFAULTSORT:Portrait of a Clad Warrior}} |
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[[Category:Portrait paintings in the Louvre|Clad Warrior]] |
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[[Category:Paintings by Girolamo Savoldo]] |
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[[Category:16th-century portraits|Clad Warrior]] |
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Latest revision as of 18:42, 31 January 2024
| Portrait of a Clad Warrior | |
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| Artist | Giovanni Girolamo Savoldo |
| Year | c. 1529 |
| Medium | oil on canvas |
| Dimensions | 91 cm × 123 cm (36 in × 48 in) |
| Location | Louvre Museum, Paris |
The Portrait of a Clad Warrior, also known as Portrait of Gaston of Foix, is an oil on canvas painting by the Italian High Renaissance painter Giovanni Girolamo Savoldo, dating to c. 1529 and housed in the Louvre Museum, in Paris.
History and description
[edit]The subject was traditionally identified with the French military leader Gaston of Foix, Duke of Nemours, or as a self-portrait, although there is no documentary evidence for either hypothesis. The identification with Gaston de Foix is devoid of documentary evidence, as well as certainly improbable, since it would have been a posthumous portrait lacking the composure more suited to this purpose.[citation needed]
The painting depicts a man wearing military armor in a small room with two mirrors. In a narrow space, the man is portrayed leaning against a shelf, while he also leans forward towards the viewer, settling along a deep diagonal, which ends with his outstretched left arm, indicating the reflected image. The presence of the triple image (front, back and side) certainly refers to a lost painting by Giorgione, who had been created to demonstrate the superiority of painting in the lively debate on the "comparison of the arts". Savoldo, like Giorgione, wanted to demonstrate that painting was also capable of representing multiple views of the same subject, in the same way as sculpture, and without having to go around it.[citation needed]
The theme of light and reflections is also magnified by the metallic luster of the armor and the red velvet sleeves, which create those chromatic flashes between dense and dark shadow fields, typical of the painter's production.[citation needed]
See also
[edit]External links
[edit]- Page at the museum website (in French)
