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The first artistic experiments of Titian associated with the creation of religious compositions. Such works as “Caesar's Dinar”, “The Position in the Sepulcher” (both paintings were completed by the 1520s) are a vivid example of this.
In parallel, in the 1510s, Titian turned to the portrait genre, so that, over the next four decades, he created canvases, thanks to which he was recognized as the greatest portrait painter of not only the Italian, but also the European Renaissance. This was understood by many noble people of that time, who literally stood in line in order to pose for the great master and thereby be captured on his canvases.
Already in his early works (the “Young Man with a Glove”, written in the first half of the 20s of the 16th century), Titian with undeniable skill could capture on his canvases the ideal of a man of the Renaissance - beautiful and spiritually, and physically - captured in all the fullness of his being.
It should be noted that the artist painted the details of his masterpiece well. At the same time, not only they make visitors to the Louvre stop in front of the canvas and peer at it for a long time. The general concept of the picture, the disclosure through the individual look of the idea of a man of the Renaissance, is what we love this picture for.
The viewer's gaze slides over the canvas, dwelling on the strong broad shoulders of the depicted young man, then on his swarthy face, whose lively brilliance proves that its owner does not know the sorrows and doubts characteristic of the characters of paintings of future centuries.
The strength and freedom of the young man lies in his graceful posture, and in a carelessly unbuttoned shirt, and especially the perky expression of his eyes. All this creates a look that captivates the audience with its endless charm, freshness, thereby quite rightly securing the glory of the great artist for Titian.
Kingdom of Flora