"Portrait Of Man Holding A Pair Of Gloves. Flanders XVIth Century Around 1530"Atelier d'Ambrosius Benson (1500-1550) Oil on walnut panel, a plate Presented in a beautiful Roman frame of XVIIth century walnut moldings, wood veneer, underlined by twisted carved and gilded wood. Has retained its original wrought iron hook. Dimensions with frame: 85 x 72.5 cm. The panel: 54.5 x 38 cm. Portrait in bust on a green background, head slightly turned to the left, the look sharp and determined, this young man is wearing a beard carefully cut square. He is wearing a "Barrette" of black velvet and dressed in a black garment from which the collar of a white shirt protrudes. His left hand squeezes a pair of skin gloves. It is most likely a humanist or doctor In the Renaissance, the art of portraiture enjoyed its golden age in the sixteenth century. For centuries, only saints and rulers enjoyed the privilege of seeing their portrait lying on the canvas. By the end of the fifteenth century, the share of this art increased exponentially with the economy, and the wealthy bourgeoisie became more and more frequently immortalized. Ambrosius Benson Flemish painter of Italian origin (Lombardy 1500 - Bruges 1550). His real name appears to be Ambrogio Benzone. He settled in Bruges before having reached his twentieth year and, after having worked in Gerard David's studio, he was received in 1519 as a master in the corporation of that city. Like his older colleague Isenbrant, he extends in his own way the art of Gerard David, borrowing more of a religious composition, but giving his figures a more robust frame and using a brownish color, with strong oppositions of values, where it is believed to surprise an echo of its Lombard formation. For thirty years he is, with Isenbrant, one of the busiest painters in Bruges. In 1537 and in 1543 he was dean of the painters' guild. His main religious works are in Spain: the great triptych of the Descent of the Cross at the Cathedral of Segovia and the 7 panels of the Prado devoted to scenes of the life of St. Anne and the Passion. If Benson is not very inventive in his religious compositions, especially in his Saints Conversations (example in the Louvre), composed in the strict dependence of Gerard David, he is more of a creator in several Concerts after the meal often repeated by his studio ( museums of Basel, Verona, Angers, Louvre), whose Italian accent is undeniable. He was also a remarkable portraitist in the tradition of Flemish primitives (Brussels, MRBA, Berlin, museums, Washington, NG, Toledo, Ohio, Museum of Art). ** Beautiful state of conservation. Note two side rods to adjust the table in the frame. Sold with a descriptive invoice & a certificate.