| Portrait of a Man | |
|---|---|
 | |
| Artist | Luca Signorelli |
| Year | c. 1492 |
| Medium | Tempera on panel |
| Dimensions | 50 cm× 32 cm(20 in× 13 in) |
| Location | Gemäldegalerie, Berlin |
The Portrait of a Man is a painting by the Italian Renaissance artist Luca Signorelli, dated to c. 1492 and housed in the Gemäldegalerie, Berlin. [1]
From 1490 to 1492, Signorelli was in Volterra, a city under Florentine control, under the patronage of the House of Medici. Here he painted an Annunciation , a Virgin Enthroned with Saints , a Circumcision of Christ and, perhaps, this painting, attributed to that period for its stylistic resemblance with those works.
The painting portrays an aged man from three-quarters, characterized by white hair and rich bourgeois garments, perhaps those of a jurist, including a red beret and jacket, and a black scarf. The style is inspired to the works of Hans Memling and to some by Domenico Ghirlandaio.
The background houses Roman ruins and some naked men, inspired to those in Piero della Francesca's Death of Adam in San Francesco at Arezzo, and are also in other works by Signorelli, such as the Madonna with Child and Naked Men of the Uffizi.
Luca Signorelli was an Italian Renaissance painter from Cortona, in Tuscany, who was noted in particular for his ability as a draftsman and his use of foreshortening. His massive frescos of the Last Judgment (1499–1503) in Orvieto Cathedral are considered his masterpiece.
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The Circumcision is a painted altarpiece of the Circumcision of Jesus by the Italian Renaissance painter Luca Signorelli, in the National Gallery in London, dated to c. 1490–1491.
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The Virgin Enthroned with Saints is a painting by the Italian Renaissance artist Luca Signorelli, dated to 1491 and housed in the Pinacoteca Comunale of Volterra, central Italy.
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Portrait of Vitellozzo Vitelli is an oil on panel painting by Luca Signorelli, created c. 1492–1496, now in the Berenson Collection at Villa I Tatti in Settignano (Firenze). It forms a kind of diptych with the same artist's Portrait of Niccolò Vitelli, Vitellozzo Vitelli's father - both were produced during the painter's stay in Florence from 1492 to 1496.
Portrait of Niccolò Vitelli is an oil on panel portrait painting by Luca Signorelli, created c. 1492–1496, now in the Barber Institute of Fine Arts. It forms a diptych with the same artist's Portrait of Vitellozzo Vitelli, which shows Niccolò's son. Its subject had died by the time of its production and so it was probably produced after medals of him.
Adoration of the Magi is a painting in tempera on wood panel by Luca Signorelli (1450–1523) and his assistants, executed c. 1493–1494, and now in the Louvre in Paris. It was probably the first painting he produced in Città di Castello, and originally hung over the main altar of the monastery church of Sant'Agostino. The surface displayed within the frame is 331 cm by 245.5 cm. In late 2022 it was not on display.
Madonna and Child is a tempera on panel tondo painting by Luca Signorelli, created c. 1492–1493, now in the Alte Pinakothek in Munich. The rocky landscape in the background shows the influence of Leonardo da Vinci, whilst to the right is a nude seated on a rock, referencing the marble Spinario, which at that date was already in the Uffizi in Florence.
Madonna and Child with Two Saints is a tempera on panel tondo painting by Luca Signorelli, created c. 1492–1493, 112 cm in diameter. It is in the Galleria Corsini of the Palazzo Corsini in Florence, whilst a larger autograph replica known as the Baduel Tondo (c.1492-1500) is now in the Museo Bandini in Fiesole. To the left is Saint Jerome whilst to the right is Bernard of Clairvaux.
Holy Family or Holy Family with a Female Saint is a tempera on panel painting by Luca Signorelli, created c. 1490–1495, now in the Galleria Palatina in Florence.
The Dead Christ Mourned is an oil painting on canvas of c. 1604 by Annibale Carracci. It was in the Orleans Collection before arriving in Great Britain in 1798. In 1913 it was donated to the National Gallery, London, which describes it as "perhaps the most poignant image in [its] collection of the pietà – the lamentation over the dead Christ following his crucifixion – and one of the greatest expressions of grief in Baroque art".