References Abate Guattani. Galleria del Senatore Luciano Bonaparte, Roma . 1808, vol. 1, p. 73, no. 40 [see Ref. Zeri and Gardner 1971], calls this picture a Portrait of a Young Duke of Urbino by Sebastiano del Piombo.Choix de gravures à l'eau forte, d'après les peintures originales et les marbres de la galerie de Lucien Bonaparte . London, 1812, unpaginated, engraving marked stanza IV, no. 37, reproduces the engraving by Fontana after the painting as by Sebastiano del Piombo.Memoirs of Painting, with a Chronological History of the Importation of Pictures by the Great Masters into England since the French Revolution . London, 1824, vol. 2, pp. 270–71, no. 25. p. 289, no. 30, calls it a portrait of a Florentine gentleman by Sebastiano del Piombo.Gazette des beaux-arts 18 (January 1865), pp. 10–11, ill. opp. p. 6 (engraving by Deveaux), attributes it to Bronzino.The Florentine Painters of the Renaissance . 3rd ed. New York, 1909, p. 123, as "Youth in Black".New York Times (December 31, 1911), p. SM4.Die Werke Angelo Bronzinos . Strasbourg, 1911, pp. 8, XXVI, pl. VIII, calls it a portrait of an unidentified young man by Bronzino in the Sagan collection, Paris, and dates it about 1535–40.Bronzino . Florence, 1920, pl. 28, attributes it to Bronzino.Die Malerei der Spätrenaissance in Rom und Florenz . Berlin, 1920, vol. 1, p. 230, attributes it to Bronzino.Le portrait florentin de Botticelli à Bronzino . Paris, 1924, pp. 233–34, attributes it to Bronzino, dates it slightly later than the portrait of Ugolino Martelli, which he dates about 1535 or 1536, and calls it a young nobleman.Agnolo Bronzino, His Life and Works . Cambridge, Mass., 1928, pp. 8, 73, pl. 9, calls it a portrait of an unidentified young man by Bronzino and dates it about 1535–40.Creative Art 7 (September 1930), pp. 222–24, ill. (overall and x-ray details), discusses changes in the composition revealed by x-rays.Letter to Bryson Burroughs . June 5, 1930, attributes it to Bronzino and considers it the portrait of a Florentine nobleman, not the Duke of Urbino.H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art . n.p., 1931, pp. 4–5, ill.Italian Pictures of the Renaissance . Oxford, 1932, p. 115, lists it as a "Youth with hand on Book" by Bronzino.Italian Paintings in America . 3, New York, 1933, unpaginated, pl. 462.Pitture italiane del rinascimento . Milan, 1936, p. 100.Art Criticism from a Laboratory . Boston, 1938, pp. 89–92, fig. 22.The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings . New York, 1940, pp. 68–69, ill.Manieristi toscani . Bergamo, 1944, p. 44, fig. 123, dates it to about the time of the portrait of Ugolino Martelli in the Berlin Museum, that is, about 1537–38.Metropolitan Museum of Art Bulletin 5 (November 1946), ill. p. 76.Metropolitan Museum of Art Bulletin 5 (Summer 1946), ill. on cover (color detail).The Book of Costume . New York, 1948, vol. 2, p. 499, no. 1334, ill. (cropped).Metropolitan Museum of Art Bulletin 8 (May 1950), ill. p. 264.Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art . Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 228, no. 108, colorpl. 108, says that this portrait may be the Duke of Urbino, possibly Guidobaldo II.Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), ill. p. 20.Il Bronzino . Busto Arsizio, 1960, unpaginated, colorpl. 21, opp. pl. 72, does not consider it to depict Guidobaldo II, the Duke of Urbino, and dates it between 1535 and 1540.Sixteen to Sixty: Memoirs of a Collector . New York, 1961, pp. 20, 111.Italian Pictures of the Renaissance: Florentine School . London, 1963, vol. 1, p. 43.Pantheon 22 (November–December 1964), p. 380, fig. 6, dates it about 1545.An Ophthalmologist Looks at Art and Artists . Malta, 1965, p. 11, fig. 7 [reprinted from "Proceedings of the American-Hungarian Medical Association," vol. 1, 1965].Jean-Auguste-Dominique Ingres . New York, 1967, p. 36, fig. 49, names Bronzino's portrait as a source of inspiration for Ingres's portraits of French aristocrats.Merchants and Masterpieces: The Story of The Metropolitan Museum of Art . New York, 1970, p. 208 [rev., enl. ed., 1989].Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School . New York, 1971, pp. 201–2, ill. on cover (color) and p. 202, mention an engraving of this portrait by Piero Fontana published in 1812 bearing the title A Duke of Urbino by Sebastiano del Piombo [see Ref. Choix de gravures 1812]; call it however surely by Bronzino and does not resemble authenticated portraits of the Duke of Urbino; say it was certainly painted in Florence, possibly in the late 1530s and reflects the restoration of the aristocracy in Florence after the fall of the republic.Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections . Cambridge, Mass., 1972, pp. 36, 525, 607.L'opera completa del Bronzino . Milan, 1973, p. 89, no. 25, ill. p. 89 and colorpl. XII.Infinite Jest: Wit and Humor in Italian Renaissance Art . Columbia, Mo., 1978, pp. 141–143, fig. 6-1, discusses the witty and ironic juxtapositioning of the serious, aloof sitter with the bizarre carved grotesque heads on the furniture; relates this irony to topics in contemporary literature.Sir Charles Eastlake and the Victorian Art World . Princeton, 1978, p. 227, fig. 108.The Metropolitan Museum of Art . New York, 1980, pp. 256–57, 266, fig. 478 (color).Bronzino . New York, 1981, pp. 23, 25–27, colorpl. 16 and frontispiece (detail), agrees with Smyth that this painting is a self-portrait and compares the pose of the sitter with Pontormo's Portrait of a Halberdier (J. Paul Getty Museum, Los Angeles).Studies in the History of Art 12 (1982), pp. 67, 70, 78 nn. 2, 3, 5, 6, figs. 4–7 (overall, and x-rays, overall and details), calls it the most prominent example of a portrait by Bronzino altered during the course of execution; states that it was inspired by Pontormo's Halberdier (J. Paul Getty Museum, Los Angeles) and suggests that the source for the reworked hand was Pontormo's portrait of Niccolò Ardinghelli (also identified as Monsignor della Casa; National Gallery of Art, Washington; 1961.9.83); suggests that the painting was begun in the early 1530s, but worked over again at a later date, perhaps about 1540–45.Art Bulletin 68 (September 1986), p. 426, fig. 7 (x-ray detail), observes that Bronzino has used a "blunt instrument, probably the butt of the brush, to sketch lightly into the damp preparation passages" of this portrait.The Havemeyers: Impressionism Comes to America . New York, 1986, pp. 176, 254.Critica d'arte 55 (June–September 1990), p. 47, fig. 16, compares the painting to the Halberdier by Pontormo.Antichità viva 30, nos. 1–2 (1991), p. 19, suggests that, although unidentified up to now, this sitter was probably one of Bronzino's literary friends.Portrait et séduction . [Paris], 1992, pp. 200–201, ill. in color (overall and detail).The Burlington Magazine 134 (November 1992), p. 704, compares the carved grotesque masks in this portrait with those on the chair in Bronzino's portrait of Lucrezia Panciatichi (Galleria degli Uffizi, Florence).in Splendid Legacy: The Havemeyer Collection . Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 56–57, colorpl. 58.Sixteen to Sixty: Memoirs of a Collector . 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp. 20, 111, 301, 310 n. 38, p. 321 n. 161.Splendid Legacy: The Havemeyer Collection . Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 91, 95.in Splendid Legacy: The Havemeyer Collection . Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 223.in Splendid Legacy: The Havemeyer Collection . Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 297, no. A45, ill.Analecta Husserliana 44 (1995), pp. 314–15, discusses the concept of "paragone" (comparison between the arts) in relation to the juxtaposition of the painted likeness of the sitter and the carved faces on the furniture in the painting, and the concept of masking as an emblem of illusion.Ingres . New York, 1995, p. 183.Bronzino . New York, 1996, p. 21.in The Dictionary of Art . 4, New York, 1996, p. 856, cites it as a mature example of Bronzino's maniera portraits from the mid-sixteenth century.in L'officina della maniera: Varietà e fierezza nell'arte fiorentina del Cinquecento fra le due repubbliche 1494–1530 . Exh. cat., Galleria degli Uffizi, Florence. Venice, 1996, p. 380, under no. 142, compares the architecture in this painting, especially as originally conceived and revealed in x–rays, to that in a portrait attributed to Pontormo (Barbara Piasecka Johnson collection) and believes the latter was a model for ours.in "Entre Galatée et Andromède, Méduse." Andromède ou le héros à l'épreuve de la beauté . Paris, 1996, pp. 33–34, fig. 15.The Collections of the Nelson-Atkins Museum of Art: Italian Paintings, 1300–1800 . Kansas City, Mo., 1996, pp. 179, 186–87.Pontormo: Portrait of a Halberdier . Los Angeles, 1997, pp. 100, 104–6, 120, nn. 146–47, p. 121, nn. 154–55, figs. 51 (color), 53 (x-radiograph), discusses the complicated relationship between Pontormo's portrait of a Halberdier and our painting; argues that Pontormo's portrait was the model for Bronzino's portrait.Painting of the Late Renaissance in Rome and Florence . 1, rev. ed. San Francisco, 1997, p. 190.in Velázquez, Rubens y Van Dyck: Pintores cortesanos del siglo XVII . Exh. cat., Museo Nacional del Prado. Madrid, [1999], p. 164, under no. 17.in Portraits by Ingres: Image of an Epoch . Exh. cat., The Metropolitan Museum of Art. New York, 1999, p.124, n. 11.Revue des musées de France: Revue du Louvre no. 3 (1999), p. 78, fig. 18, notes that the pose of the figure in this picture prefigures almost exactly that of Melchior von Brauweiler in Calcar's portrait in the Louvre.After Raphael: Painting in Central Italy in the Sixteenth Century . Cambridge, 1999, p. 216, agrees with Smyth's dating of about 1529–30.in Portraits by Ingres: Image of an Epoch . Exh. cat., The Metropolitan Museum of Art. New York, 1999, p. 252.in Portraits by Ingres: Image of an Epoch . Exh. cat., The Metropolitan Museum of Art. New York, 1999, pp. 298–299 n. 17, fig. 174.Bronzino: Renaissance Painter as Poet . Cambridge, 2000, pp. 159, 217 n. 31, fig. 28.in Virtue and Beauty: Leonardo's "Ginevra de' Benci" and Renaissance Portraits of Women . Exh. cat., National Gallery of Art. Washington, 2001, pp. 221, 228 n. 8, ill.Impressionist & Modern Art . Phillips, New York. May 7, 2001, p. 132, fig. 1.Bronzino . Paris, 2002, pp. 110–12, 114, 116, 124, 130, 132, 142, ill. opp. pp. 116 and 130 (color, overall and detail), suggests that the pose of the sitter is an "assemblage" of elements from Michelangelo's Giuliano de' Medici (New Sacristy chapel of San Lorenzo, Florence) and Pontormo's Halberdier.Studiolo: Revue de l'Académie de France à Rome 1 (2002), p. 207.Bronzino . Milan, 2003, p. 25–26, 106–107, ill. (color), dates it 1536–39.in Pontormo, Bronzino, and the Medici: The Transformation of the Renaissance Portrait in Florence . Exh. cat., Philadelphia Museum of Art. Philadelphia, 2004, pp. 24–25, fig. 18.in Pontormo, Bronzino, and the Medici: The Transformation of the Renaissance Portrait in Florence . Exh. cat., Philadelphia Museum of Art. Philadelphia, 2004, p. 92, n. 2, cites it as evidence for the influence of Pontormo's "Portrait of a Halberdier"; dates it to the autumn of 1530 or after 1532.Paragone , 3rd ser., 56 (January 2005), p. 70, compares it with Pontormo's portrait of Giovanni Della Casa (National Gallery of Art, Washington).Le goût pour la peinture italienne autour de 1800, prédécesseurs, modèles et concurrents du cardinal Fesch . Ajaccio, 2006, pp. 269–70, calls it one of seven Italian pictures from the collection of the comte de Pourtalès-Gorgier that were formerly owned by Lucien Bonaparte.in The Drawings of Bronzino . Exh. cat., The Metropolitan Museum of Art. New York, 2010, pp. 47, 49 n. 99, figs. 8, 9 (infrared reflectogram, overall and detail), colorpl. 14, dates it about 1534–38; discusses the results of recent infrared reflectography examination.in The Drawings of Bronzino . Exh. cat., The Metropolitan Museum of Art. New York, 2010, p. 59.in The Drawings of Bronzino . Exh. cat., The Metropolitan Museum of Art. New York, 2010, pp. 6–7.
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