On the table, it looks to be a stretched face of a man in a hat, almost like a Halloween mask, carved in o the corner of the table. The chair has a similar design of a man's face but it is less distorted. The walls are a cream almost a green color, with a door behind the man with a natural wood tone. The door is framed in blue off setting it from the walls in the painting. .
Bronzino did very well with the table in this piece of art making it look like silk cloth stretched tight rather than stone. By using the soft red tones with the highlights in white and perfect shading, he made the table appear to be very smooth. Along with that Bronzino used the color to do a lot more. With the walls using a subtle green color with smooth brush strokes gave the impression of smooth seamless walls. The extreme detail in the doublet is what I liked most; the use of color, deep lines, and highlights gave it a vivid, almost real look. The doublet was done so well that you can see where the sleeves bulge out and where they begin to get tight again around the man's wrist. .
For this painting Bronzino used Oil painting with a wood backing. This was typical for the time period, however his personal touch and great use of the medium, is what gave this painting such a well detailed appearance. The realism and emphasis of detail in the man's face and clothing is what first caught my eye. As I looked closer the visual texture of the painting made me want to touch the painting. Bronzino's use of space in this painting was enhanced only by its explicit detail, or in this case the lack of. Making the walls and other objects smooth and lacking detail, made the young man really the main forces of this painting. .
This painting was done in Florence, Italy during the Early Renaissance period. This painting, like others of this time period, have a retinal relationship with all objects in the painting. The man and other objects are proportionate to the surroundings with a fading linear perspective.
