Andrea D Agnolo Portrait
Portrait of a young man was painted by Andrea Del Sarto (Andrea d' Agnolo) from Italy, Florence. It was actually done between the years of 1485-1530. The accession number assigned to this portrait is 1982.60.9. In addition to my prior knowledge of my class and the significant amount of time, I invested analyzing every single detail of this portrait of the young man helped me to reach the climax of the concept of this portrait. The idea Agnolo depicts on this specific painting through the representation of the young man reflects on the concept of mannerisms and the way it is rooted in reality. Notwithstanding, Andrea was able to achieve mannerism in this portrait by creating unbalanced details of the way he presented the young man on the portrait.
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To emphasize, as inferred by Agnolo’s painting, the representation of the young man is very elegant and this shows a level of confidence the man has in the norm he possesses in his society.
Most importantly, the book held in the right-hand, with his index finger, signifies some level of acquired knowledge. Additionally, this also exhibit not only a young man who is enlightened, but also a trend towards the period and an age of enlightenment. Regardless of the book, another way Andrea deduced knowledge and education into this portrait is by focusing the light on the man’s forehead and hands. That is, it could significantly mean he is intelligent for his thought that is why the light is focusing on his forehead. Secondly, the brightness of the right hand holding the book could mean the young man has gained some amount of knowledge from the book. In a nutshell, if carefully examined, the right- hand looks like it is missing some fingers whereas the left hand is fully normal; this, in turn, conveys a sense of asymmetrical quality in this
portrait.
Agnolo use of symbols help describes the painting more in deepth. The facial expression of the portrait symbolizes unhappiness and life concerns. The eye gesture can be used as a tool to judge the era when this portrait was actually painted. For me, it might be that the old ways are been obsolete that was why his right eye is the focus, but the left eye is aiming in a different direction. In other words, we can say that the left eye is a symbol that shows how old generation is passing away and a new generation is emerging because the left eye took a new turn. Moreover, using these unbalanced details defines the artwork as confusing, uneasy, and challenging to understand; and as well idiosyncratic. Nonetheless, alongside characterization and personification, there are many symbols in the background setting that disclosed the young man elegance and concern about life. The crafts on the table and on the chair illustrate the unhappiness and seriousness of this portrait and the reality of that era.
Furthermore, the background setting is more traditional than modern because the space is very small and there is little room in-between closed doors, table, and chair. Using the demarcation on the wall behind the young man gives this room a smaller feel. In addition, the positioning of the portrait, at the corner of the room in-between the table, the chair, and the closed door also gives me the feeling of lack of space in the room. The dress-up of the portrait with this gigantic black doublet, white shirt underneath, deep blue fabric type belt around his waist, and a hat with golden pieces sticking out like a v-shape illustrates that a portrait is a man of style, status, and title. Looking at the overall portrait, using a top-down approach, Angolo was able to showcase the elegance of a young man in a room setting without an outdoor scene. Thus, this kind of indoor composition gives the artwork a non-natural or artificial look.
Using the tons of symbols and the characterization of this portrait, we can draw plausible insight to what Angelo is trying to convey in this painting. First and foremost, if we look carefully at the corner of the table, the arm of the chair, and the left side of the man’s pant, we can picture a mask looking face. The settings and symbols act as a flashback to the portrait face, causing curiosity with Angolo intention and action. If Angolo purposely made the man’s eyes inaccurate, then he was only trying to make the man’s face look as if he was wearing a mask. The preparation of the concept of the mask and the objects surrounding this portrait represents numerous meanings. These obscure meanings make the viewer think that there is something fishy about the youth age, era, and the conduct of this young man.
To conclude, throughout this portrait Angelo illustrated different characteristics of mannerism to make this portrait a masterpiece of the mannerist time period. The way Angolo position the young man, the dressing, and the symbols embedded within the traditional background setting describe this portrait as mentally, psychologically and cognitive fit. The composition of this painting has several hidden unnatural concepts. The man’s eyes are intentionally demonstrated of scale as to relate to the mask displayed on the table, chair, and the pant he is wearing. If there is a lesson to be learned from their portrait, it is that physical, psychological, geographical era, and cognitively behaviors can express through painting. Finally, we can now draw an end to this painstaking writing assignment by saying that portraits are not just pictures on our walls; they are posture foreshadowing numerous meanings.
To emphasize, as inferred by Agnolo’s painting, the representation of the young man is very elegant and this shows a level of confidence the man has in the norm he possesses in his society.
Most importantly, the book held in the right-hand, with his index finger, signifies some level of acquired knowledge. Additionally, this also exhibit not only a young man who is enlightened, but also a trend towards the period and an age of enlightenment. Regardless of the book, another way Andrea deduced knowledge and education into this portrait is by focusing the light on the man’s forehead and hands. That is, it could significantly mean he is intelligent for his thought that is why the light is focusing on his forehead. Secondly, the brightness of the right hand holding the book could mean the young man has gained some amount of knowledge from the book. In a nutshell, if carefully examined, the right- hand looks like it is missing some fingers whereas the left hand is fully normal; this, in turn, conveys a sense of asymmetrical quality in this
portrait.
Agnolo use of symbols help describes the painting more in deepth. The facial expression of the portrait symbolizes unhappiness and life concerns. The eye gesture can be used as a tool to judge the era when this portrait was actually painted. For me, it might be that the old ways are been obsolete that was why his right eye is the focus, but the left eye is aiming in a different direction. In other words, we can say that the left eye is a symbol that shows how old generation is passing away and a new generation is emerging because the left eye took a new turn. Moreover, using these unbalanced details defines the artwork as confusing, uneasy, and challenging to understand; and as well idiosyncratic. Nonetheless, alongside characterization and personification, there are many symbols in the background setting that disclosed the young man elegance and concern about life. The crafts on the table and on the chair illustrate the unhappiness and seriousness of this portrait and the reality of that era.
Furthermore, the background setting is more traditional than modern because the space is very small and there is little room in-between closed doors, table, and chair. Using the demarcation on the wall behind the young man gives this room a smaller feel. In addition, the positioning of the portrait, at the corner of the room in-between the table, the chair, and the closed door also gives me the feeling of lack of space in the room. The dress-up of the portrait with this gigantic black doublet, white shirt underneath, deep blue fabric type belt around his waist, and a hat with golden pieces sticking out like a v-shape illustrates that a portrait is a man of style, status, and title. Looking at the overall portrait, using a top-down approach, Angolo was able to showcase the elegance of a young man in a room setting without an outdoor scene. Thus, this kind of indoor composition gives the artwork a non-natural or artificial look.
Using the tons of symbols and the characterization of this portrait, we can draw plausible insight to what Angelo is trying to convey in this painting. First and foremost, if we look carefully at the corner of the table, the arm of the chair, and the left side of the man’s pant, we can picture a mask looking face. The settings and symbols act as a flashback to the portrait face, causing curiosity with Angolo intention and action. If Angolo purposely made the man’s eyes inaccurate, then he was only trying to make the man’s face look as if he was wearing a mask. The preparation of the concept of the mask and the objects surrounding this portrait represents numerous meanings. These obscure meanings make the viewer think that there is something fishy about the youth age, era, and the conduct of this young man.
To conclude, throughout this portrait Angelo illustrated different characteristics of mannerism to make this portrait a masterpiece of the mannerist time period. The way Angolo position the young man, the dressing, and the symbols embedded within the traditional background setting describe this portrait as mentally, psychologically and cognitive fit. The composition of this painting has several hidden unnatural concepts. The man’s eyes are intentionally demonstrated of scale as to relate to the mask displayed on the table, chair, and the pant he is wearing. If there is a lesson to be learned from their portrait, it is that physical, psychological, geographical era, and cognitively behaviors can express through painting. Finally, we can now draw an end to this painstaking writing assignment by saying that portraits are not just pictures on our walls; they are posture foreshadowing numerous meanings.