Press release: August 2005

Titian's 'Portrait of a Young Man': Gallery statement

The 'Portrait of a Young Man' has been on loan from the Earl of Halifax to the National Gallery since 1992.

The Earl of Halifax now wishes to sell the painting.

On deciding this, The Earl of Halifax offered it to the National Gallery well in advance, for which we are very grateful.

For the past two years exhaustive discussions have been held between representatives of the Earl of Halifax and representatives of the National Gallery and the National Galleries of Scotland, with a view to a joint purchase.

Both Galleries deeply regret that, despite the owner's patience, no arrangement has been found that the two Galleries could finance.

This case highlights the difficulties faced by public institutions in funding purchases.

The removal of Titian's 'Portrait of a Young Man' from the National Gallery would be a great loss to the UK public.

Notes to Editors

Provenance
Possibly acquired by Henry, 7th Viscount Irwin (1691-1766); first recorded at Temple Newsam House, Leeds, c. 1780 (sketch by John Dowman); by inheritance through Frances, a widow of the 9th Viscount Irwin (d. 1807); his daughter Elizabeth (the Hon. Mrs Meynell Ingram), wife of Hugo Meynell; by descent to her grandson Hugo Francis Meynell Ingram (d. 1871); his widow Emily Charlotte, daughter of the 1st Viscount Halifax; 2nd Viscount Halifax; by descent to the present owner.

About Titian
The greatest painter of Renaissance Venice, Titian was the successor to both Giovanni Bellini and Giorgione and owed much to both of them.

Titian painted devotional and mythological themes, portraits, allegories and altarpieces, and worked for Francis I of France, the Emperor Charles V and his son Philip II of Spain, as well as the leading families of Venice, Mantua, Ferrara, Urbino and Rome.

About 'Portrait of a Young Man'
'Portrait of a Young Man' was painted in the second decade of the 16th century, and is one of several portraits of elegant, well-dressed young men, including the 'Man With a Glove' (Louvre, Paris) and 'Man in a Red Cap' (Frick, New York).

'Portrait of a Young Man' is subdued and contemplative in mood. The unknown sitter is shown standing in three-quarter profile to the left behind a parapet. Behind him is a niche, which is decorated with elaborate ornamentation that might once have afforded some clues to his identity.

His forward arm rests nonchalantly on the parapet, and in his gloved left hand he holds the kidskin glove he has just removed from his right hand to take off his large hat. The empty glove still bears the impression of his fingernails. Dark colours predominate, in order to highlight the man's face, the depiction of which is extraordinarily lifelike, without the stylisation of other early portraits by Titian. The handsome young man gazes into the distance, apparently lost in thought. Although his intelligent grey eyes appear unfocussed and even dreamy, his brow is imperceptibly furrowed in concentration, and his lips and jaw are expressive of inner resolve. By observing every nuance of expression, Titian was able to suggest thought processes and emotions, which in turn elicit a response from us.

Press Office
1 August 2005

For press information please contact:
Tracy Jones
0207 747 2512 | tracy.jones@ng-london.org.uk

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Louise Butler
020 7747 2596 | louise.butler@ng-london.org.uk

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