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・ Portrait of a Lady in Yellow
・ Portrait of a Lady Known as Smeralda Brandini
・ Portrait of a Large Dog
・ Portrait of a Lone Farmer
・ Portrait of a Man
・ Portrait of a Man (Antonello da Messina, Berlin)
・ Portrait of a Man (Antonello da Messina, London)
・ Portrait of a Man (Antonello da Messina, Madrid)
・ Portrait of a Man (Antonello da Messina, Pavia)
・ Portrait of a Man (Antonello da Messina, Turin)
・ Portrait of a Man (Domenico Ghirlandaio)
・ Portrait of a Man (Mantegna)
・ Portrait of a Man (Raphael)
・ Portrait of a Man (Self Portrait?)
・ Portrait of a Man (Signorelli)
Portrait of a Man (Velázquez)
・ Portrait of a Man in a Top Hat
・ Portrait of a Man in a Yellowish-Gray Jacket
・ Portrait of a man in red chalk (Leonardo)
・ Portrait of a Man Rising from His Chair
・ Portrait of a Man with a Beer Jug
・ Portrait of a Man with a Blue Chaperon
・ Portrait of a Man with a Medal of Cosimo the Elder
・ Portrait of a Man with a Roman Medal
・ Portrait of a Man with Arms Akimbo
・ Portrait of a Man with Carnation
・ Portrait of a Marriage
・ Portrait of a Marriage (TV series)
・ Portrait of a Mobster
・ Portrait of a Musician


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Portrait of a Man (Velázquez) : ウィキペディア英語版
Portrait of a Man (Velázquez)

''Portrait of a Man'' is an oil painting by Diego Velázquez, measuring 68.6 × 55.2 cm (27 × 21 in.), and painted c. 1630–1635. The painting is in the collection of the Metropolitan Museum of Art in New York City. Long the subject of uncertainty regarding its authorship, ''Portrait of a Man'' has recently been re-attributed to Diego Velázquez.〔Vogel〕
==History==
''Portrait of a Man'' once belonged to Count Johann Ludwig, Reichsgraf von Wallmoden-Gimborn, the illegitimate son of George II of Great Britain. The painting was subsequently owned by Joseph Duveen, who sold it to Jules Bache in 1926 for $1.125 million, with the understanding that it was a genuine Velázquez.〔Vogel〕 Bache bequeathed the painting to the Metropolitan Museum in 1949. Darkened and discolored by varnish, the painting was restored and cleaned in 1953 and again in 1965, yet was in the 1960s attributed by a scholar as painted by the workshop of Velázquez, a judgment with which the museum concurred in 1979.〔Vogel〕
In 2009, as a result of its most recent cleaning by Michael Gallagher of the museum's conservation department, murky, greenish tones were revealed to be gray, and fine details of brushwork and a long-obscured vibrancy of color were discovered, leading the museum to restore the traditional attribution to Velázquez.〔Vogel〕 In the words of art historian Jonathan Brown, the country's leading authority on Velázquez, "One glance was all it took....The picture has been under my nose all my life. It's a fantastic discovery. It suddenly emerges Cinderella-like."〔Vogel〕

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