Matches in DBpedia 2016-04 for { ?s ?p "Portrait of a Young Man is a painting in oil on panel, probably from 1513–1514, by the Italian High Renaissance Old Master painter and architect Raffaello Sanzio da Urbino better known simply as Raphael. The painting was stolen by the Nazis from Poland. Many historians regard it as the most important painting missing since World War II.The subject's identity is unverified, but many scholars have traditionally regarded it as Raphael's self-portrait. The facial features are perceived by specialists as compatible with, if not clearly identical to, the only undoubted self-portrait by Raphael in his fresco The School of Athens at the Vatican, identified as such by Vasari. If it is a self-portrait, no hint is given of Raphael's profession; the portrait shows a richly-dressed and \"confidently-poised\" young man. If it can be accepted that this painting was indeed created by Raphael as a self-portrait, then he apparently identified particularly with the female gender, just as Leonardo da Vinci did in the Mona Lisa. As a portrait painting of the ancient High Renaissance, Raphael's emphasis on erect poise, gesture, texture, decorous ornament, and softened form all represented cultivated Mannerist expression with the attributes of the noble class in a style which spread through southern Italy after Raphael's death. Here, the textural details of a flesh colored wall, sable fur, and wavy dark hair not only strike a Neo-Classical, sensitive balance between real humanity and nature, they extend gestures seen in previous female hand placement to stress man's role as a well-travelled humanist. Raphael humanized male gender so that the sleeve ribbon and hazy edges around hair and landscape reflected the interchangeability of each gender. A left palm placed near the heart emphasized self-identity and a passionate stance within the \"right\" spiritual context of Raphael's Counter-Reformation era. A striking contrast between pure white and sable intensified the doctrinal harmony between Heaven and Earth.It is probable that Raphael's studious approach to idealized representation of human proportion was based on his studies of ancient athletic and military heroes in Classical sculpture such as Doryphoros and Augustus of Prima Porta. The painting was brought to Poland, along with Leonardo da Vinci's Lady with an Ermine and many Roman antiquities, by Prince Adam Jerzy Czartoryski, son of Princess Izabela Czartoryska, on his travels to Italy in 1798."@en }
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- Portrait_of_a_Young_Man_(Raphael) abstract "Portrait of a Young Man is a painting in oil on panel, probably from 1513–1514, by the Italian High Renaissance Old Master painter and architect Raffaello Sanzio da Urbino better known simply as Raphael. The painting was stolen by the Nazis from Poland. Many historians regard it as the most important painting missing since World War II.The subject's identity is unverified, but many scholars have traditionally regarded it as Raphael's self-portrait. The facial features are perceived by specialists as compatible with, if not clearly identical to, the only undoubted self-portrait by Raphael in his fresco The School of Athens at the Vatican, identified as such by Vasari. If it is a self-portrait, no hint is given of Raphael's profession; the portrait shows a richly-dressed and \"confidently-poised\" young man. If it can be accepted that this painting was indeed created by Raphael as a self-portrait, then he apparently identified particularly with the female gender, just as Leonardo da Vinci did in the Mona Lisa. As a portrait painting of the ancient High Renaissance, Raphael's emphasis on erect poise, gesture, texture, decorous ornament, and softened form all represented cultivated Mannerist expression with the attributes of the noble class in a style which spread through southern Italy after Raphael's death. Here, the textural details of a flesh colored wall, sable fur, and wavy dark hair not only strike a Neo-Classical, sensitive balance between real humanity and nature, they extend gestures seen in previous female hand placement to stress man's role as a well-travelled humanist. Raphael humanized male gender so that the sleeve ribbon and hazy edges around hair and landscape reflected the interchangeability of each gender. A left palm placed near the heart emphasized self-identity and a passionate stance within the \"right\" spiritual context of Raphael's Counter-Reformation era. A striking contrast between pure white and sable intensified the doctrinal harmony between Heaven and Earth.It is probable that Raphael's studious approach to idealized representation of human proportion was based on his studies of ancient athletic and military heroes in Classical sculpture such as Doryphoros and Augustus of Prima Porta. The painting was brought to Poland, along with Leonardo da Vinci's Lady with an Ermine and many Roman antiquities, by Prince Adam Jerzy Czartoryski, son of Princess Izabela Czartoryska, on his travels to Italy in 1798.".