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Portrait of a Young Man

Vincenzo Catenaprobably about 1510

The National Gallery, London

The National Gallery, London
London, United Kingdom

An unidentified young man dressed plainly in black stares back at us from the canvas. He stands upright and motionless while behind him clouds race across the sky. The composition has been carefully centred so that a vertical line could be drawn straight down the bridge of his nose and through the fastening of his black velvet jacket. The young man’s impassive stare and expressionless lips record his appearance but reveal little of his personality.

The crisp, formal style of this portrait is similar to those by Giovanni Bellini, who may have taught Catena. It was probably painted in about 1510 – about the same time that Titian, who was also closely aware of Giovanni Bellini’s example, painted his Portrait of Gerolamo (?) Barbarigo in the National Gallery’s collection. Titian turns his sitter sideways into depth and captures Barbarigo’s momentary glance at us, creating a strong sense of psychological intimacy. Catena’s portrait must have looked quite old-fashioned in comparison.

Text: © The National Gallery, London

Painting photographed in its frame by Google Arts & Culture, 2023.

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  • Title: Portrait of a Young Man
  • Creator: Vincenzo Catena
  • Date Created: probably about 1510
  • Physical Dimensions: 30.5 x 23.5 cm
  • Type: Painting
  • Medium: Oil on wood
  • School: Italian (Venetian)
  • More Info: Explore the National Gallery’s paintings online
  • Inventory number: NG1121
  • Artist Dates: active 1506 - 1531
  • Artist Biography: Vincenzo Catena was a Venetian who seems to have started painting in the style of Bellini and his follower Cima. By 1506 he had formed a partnership with Giorgione, whose style continued to influence him, even after Giorgione's death in 1510. Catena's work is less lyrical than Giorgione's but has a solidity and charm of its own. The first notice of Catena is the inscription on the back of Giorgione's portrait of ''Laura'' dated 1506 (in the Kunsthistorisches Museum, Vienna) describing Catena as his partner. Such partnerships were not uncommon in the 15th and 16th centuries. Catena appears to have had an independent income and to have moved in the circles of Venetian humanists such as Pietro Bembo. This may have been how he met Giorgione. A comparison of the background of Catena's 'Warrior adoring the Infant Christ' with Giorgione's 'Sunset Landscape' shows Catena's debt to him.
The National Gallery, London

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