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The Young Man with an Apple is an oil on poplar painting by the Italian High Renaissance painter Raphael, executed c. 1505. It is housed in the Uffizi Gallery in Florence.Most probably made for the della Rovere/Montefeltro family in Urbino, it is often thought to be the portrait of Francesco Maria I della Rovere, grandson of Federico da Montefeltro and future Duke of Urbino through an adoption ...
The painting consists of a man in an overcoat and a bowler hat standing in front of a low wall, beyond which are the sea and a cloudy sky. The man's face is largely obscured by a hovering green apple. However, the man's eyes can be seen peeking over the edge of the apple.
Young Man with Apples, also called Boris with Apples, is an oil painting on canvas created in 1932 by Hungarian-born Indian artist Amrita Sher-Gil, when she was living in Paris. [ 1 ] The painting depicts Boris Taslitzky (1911–2005) preoccupied in deep thought.
Portrait of a Young Man, unknown master, 80.5 × 63.5 cm, private collection Berlin. [citation needed] Portrait of a Young Man is a painting by Raphael. It is often thought to be a self-portrait. During the Second World War the painting was stolen by the Nazis from Poland. Many historians regard it as the most important painting missing since ...
Art writers noted several elements of the painting as dominant, either visually or thematically. Moir, for example, notes the key role that the contrast between light and shadow plays in the composition: a window placed high on the left allows a ray of light to penetrate the room, illuminating, as it slides over the wall, the boy, the lush fruit basket, the shirt sleeve, the sensual bare ...
The identity of the young man has been a long-enduring mystery. Completed in approximately 1475, it is on display in the Uffizi Gallery of Florence. Central to the painting, seated before a landscape, is a young man with a medal between his hands. The man gazes out into the audience, while the medal displays the profiled likeness of Cosimo de ...
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This analysis has been disputed by scholars who assert that smell, rather than appearance, is the primary referent of Shakespeare's line. Because of the extravagant praise of the beloved's body, some Victorian scholars were reluctant to believe that the poem was addressed to a man; current consensus, however, groups it with the other poems ...