Various identities for the richly dressed, contemplative young man
in this portrait have been proposed but none with any certainty.
The mood of the subject and the diffused, gentle play of light over
the broadly painted surfaces are strongly reminiscent of Titian’s
Venetian contemporary Giorgione. In many ways, the Frick portrait
epitomizes a new tendency in Italian Renaissance portraiture in
which the depiction is intended less as a description of the sitter
than as an encounter with them. A rich contribution by artist
Elizabeth Peyton accompanies an illuminating essay by Giulio Dalvit
which addresses the many questions of provenance, chronology,
attribution and of who this mysterious young man might be.
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