“Gemäldegalerie Alte Meister” Brian Hawkeswood.

 Author: Brian Hawkeswood.

Old Masters Paintings.                                                                                                                 Christian Seybold, ” Retrato de una anciana”

As I wandered through the Baroque building built by Augustus the Strong—Elector of Saxony and King of Poland—known as the Zwinger Palace in Dresden, I came across the renovation work on the exterior of the Gemäldegalerie. The construction fences had been covered with enormous posters featuring faces from the gallery’s paintings, their presence both decorating the site and concealing the work behind them.

I stood for a while, taking in the striking images, then walked along the entire row, letting their scale and expression sink in.

Appropriated from Christian Seybold," Retrato de una anciana "

Anyone visiting a national gallery like the Gemäldegalerie in Dresden usually encounters paintings carefully arranged on painted walls, categorized by time period and artistic movement.

But this was different. The images had been designed with a bold approach—heads cropped to exclude the rest of the paintings, creating a striking focus on expression. Alongside them were partial views of plaster casts of classical sculptures. I found this an intriguing way to promote the gallery while also disguising the unsightly renovation work.anciana”

                                                                                  Christian Seybold," Retrato de una anciana "

I began photographing these large posters, drawn in by the way light played across their reflective plastic surfaces. There was something captivating about how they revealed the subtle imperfections of the original paintings and sculptures—flaws that became even more pronounced when enlarged. Some posters hadn’t been stretched tightly over their supports, leaving behind distinct folds and bends that added another layer of texture and distortion.

I had always been aware of how artists “appropriate” the works of others, and I encouraged this practice in my teaching of young people. Appropriation not only provides a way to study and engage with the art of the past but also allows contemporary artists to reinterpret it—blending historical influence with their own creative intentions to create something new.

The deep pull I feel toward living in Europe comes from a lifelong desire to immerse myself in its art—to experience it, learn from it, and let it shape me. For centuries, Europe has been a wellspring of artistic expression, with each era leaving behind layers of inspiration. In contrast, Australia’s history of Western art spans just over 150 years. This isn’t to diminish the extraordinary artistic traditions of Australia’s Aboriginal people, whose creations stretch back tens of thousands of years—though, heartbreakingly, much of this legacy has been lost to time.

I turned to the photographs I had just taken, studying them closely to see if they could inspire a series of paintings. After many attempts, I found myself drawn to the same compositional approach as the original artist who had chosen to crop the old master works—focusing almost entirely on the faces. I stripped away the backgrounds and let the faces stand alone, carrying the weight of expression and the artistic ideals of their time.

The resulting paintings are the product of this process.

Notes on painting techniques used.

In this series, I explored varied painting techniques to reinterpret classic works.

For my rendition of Anton Graff’s 1805 self-portrait, (and  Rotari, Pietro Antonio Graf (1707-1762) - Maria Antonia von Bayern.)    I employed pronounced brushstrokes to emphasize distortions introduced by photographic reproductions. This approach contrasts with Graff’s original, a smaller, more refined piece characteristic of the Biedermeier style, known for its intimate and detailed depictions of middle-class life. Despite these alterations, my work retains echoes of Graff’s composition.

In reimagining Hans Holbein the Younger’s “Portrait of Charles de Solier” (c. 1535) and Raphael’s “Sistine Madonna” (c. 1512), I adopted a more refined technique, aligning closer to the originals’ precision.

Conversely, other pieces in the series focus on meticulous details of color, texture, and surface imperfections. For instance, in interpreting Christian Seybold’s “Portrait of an Old Woman with a Green Scarf” (1768), I aimed to capture the exquisite interplay of color and light that Seybold masterfully achieved.

I invite you to experience the reproductions allowing personal interpretation without further commentary. Enjoy.

Hans Holbein the Younger. Portrait of Charles de Solier (ca. 1535) and Raphael. Sistine Madonna (c. 1512)

Hans Holbein the Younger’s Portrait of Charles de Solier (ca. 1535) is a striking example of Northern Renaissance portraiture, showcasing Holbein’s mastery of realism, detail, and psychological depth. Charles de Solier, a French diplomat and courtier under King Francis I, is depicted with a dignified yet introspective expression, dressed in luxurious black attire trimmed with fur, highlighting both his status and the restrained elegance characteristic of Holbein’s portrait style.

Painted during Holbein’s time in England at the court of Henry VIII, this work exemplifies the Renaissance ideals of individualism and courtly representation. The meticulous rendering of textures—such as the soft fur, fine fabrics, and metallic details—demonstrates Holbein’s precise technique, influenced by both Flemish and Italian Renaissance traditions. This portrait is significant within the broader Northern Renaissance movement for its fusion of lifelike realism with subtle psychological insight, marking Holbein as one of the foremost portraitists of his era.

Raphael’s Sistine Madonna (c. 1512) is one of the most celebrated depictions of the Virgin Mary in Renaissance art, embodying the High Renaissance ideals of grace, beauty, and divine serenity. The Madonna stands at the center of the composition, holding the Christ Child in her arms, both gazing outward with a solemn yet tender expression. Draped in flowing robes, her form is both ethereal and human, emphasizing her role as both mother and divine intercessor.

Unlike earlier, more static depictions, Raphael imbues the Madonna with movement—her gentle forward stride and slightly windblown veil create a sense of celestial descent, reinforcing her role as a bridge between heaven and earth. Her expression conveys both maternal devotion and foreknowledge of Christ’s fate, adding an emotional depth that was groundbreaking for its time.

The painting, commissioned for the Church of San Sisto in Piacenza, epitomizes the High Renaissance’s pursuit of idealized beauty and harmonious composition. Raphael’s ability to combine divine majesty with human tenderness in the Madonna set a standard for Marian imagery in Western art, influencing generations of artists.

Anton Graff. “Self-Portrait (1805)” ……………Praxiteles’ Aphrodite of Knidos (c. 350 BCE) Plaster copy.

Anton Graff’s Self-Portrait (1805), housed in the Gemäldegalerie Alte Meister in Dresden, is a striking and introspective depiction of the artist in his later years. Graff presents himself with a confident yet contemplative expression, gazing directly at the viewer with sharp, intelligent eyes. His face is rendered with great precision, showing signs of age—wrinkles, slightly sunken cheeks, and graying hair—yet still exuding vitality and artistic energy.

Dressed in a dark coat with a high collar, Graff avoids excessive ornamentation, focusing attention on his face and expression rather than on clothing or background details. The painting’s subtle use of light and shadow, especially in the soft modeling of the skin and the highlights in his eyes, creates a lifelike presence. The dark, neutral background isolates the figure, emphasizing his personality rather than an idealized artistic persona. The overall effect is one of honesty and realism, reflecting Graff’s lifelong dedication to capturing psychological depth in portraiture.

Context in Late 18th and Early 19th-Century Portraiture

Anton Graff (1736–1813) was one of the most important portrait painters of the German Enlightenment, renowned for his ability to portray his sitters with both realism and emotional depth. His work bridged the transition between the Rococo elegance of the mid-18th century and the direct, unembellished realism that foreshadowed 19th-century Romantic portraiture.

By the time Graff painted this self-portrait in 1805, Neoclassicism was the dominant artistic movement in Europe, emphasizing clarity, rational composition, and a return to classical ideals. However, Graff’s portrait departs from the idealized, statue-like depictions common in Neoclassical art. Instead, he embraces naturalism, showing himself as he truly appeared, with visible signs of aging and a deeply personal gaze. This approach aligns more closely with the early Romantic sensibility, which valued individual expression and emotional truth.

Significance of the Painting

This self-portrait is significant not only as a testament to Graff’s skill and self-awareness but also as an important example of late Enlightenment portraiture. Graff was known for painting many leading intellectuals, philosophers, and political figures of his time, including Friedrich Schiller, Moses Mendelssohn, and Johann Wolfgang von Goethe. His style was admired for its psychological depth, avoiding flattery and capturing the true essence of his subjects.

In this self-portrait, Graff applies the same honest and insightful approach to himself, presenting an image that is both dignified and deeply human. It reflects the era’s shifting attitudes toward portraiture—moving away from the decorative, aristocratic traditions of the past and toward a more personal, introspective vision of the artist as an individual.

Conclusion

Graff’s Self-Portrait (1805) is an outstanding example of late 18th- and early 19th-century portraiture, bridging the realism of the Enlightenment with the emerging Romantic movement’s emphasis on personal expression. By portraying himself with uncompromising honesty and psychological depth, Graff not only immortalized his own image but also left a powerful statement about the evolving role of the artist in society.

Pinturicchio “Portrait of a Boy “ and 

Pinturicchio’s Portrait of a Boy is a striking depiction of a young male sitter, characterized by the artist’s meticulous attention to detail and delicate handling of form. The boy, dressed in elegant yet simple attire, gazes directly at the viewer with a calm and introspective expression. His youthful face is softly modeled, with smooth transitions of light and shadow that create a lifelike appearance. His reddish-blond hair is carefully rendered, framing his features with a natural flow. The background, often a neutral or darkened space in Renaissance portraiture, serves to accentuate the clarity of the subject’s face and attire. The restrained yet expressive composition emphasizes the sitter’s individuality, marking it as a fine example of Renaissance portraiture.

Context in Renaissance Art

Pinturicchio (c. 1454–1513) was an important painter of the Italian Renaissance, primarily known for his fresco cycles and religious works. However, his approach to portraiture reflects the broader artistic developments of the late 15th and early 16th centuries, when humanism and individual identity became increasingly central to art.

During the Quattrocento (15th century), Italian portraiture evolved from rigid profile views—often inspired by ancient Roman coins—to more naturalistic and psychologically engaging representations. Artists such as Leonardo da Vinci and Perugino (with whom Pinturicchio was associated) advanced this trend by portraying sitters with greater depth, personality, and emotional presence.

Pinturicchio’s Portrait of a Boy aligns with this movement by capturing not just the external likeness of the subject but also a sense of his inner world. The emphasis on softness, realism, and individuality suggests an engagement with Leonardo da Vinci’s sfumato technique and the refined portraiture of artists like Raphael, who was influenced by both Pinturicchio and Perugino.

Significance of the Painting

This portrait is significant for its sensitive portrayal of youth, a theme that was not always a major focus in Renaissance portraiture. While many portraits of the period emphasized status and power, Pinturicchio’s rendering of the boy conveys a quieter, more introspective quality, possibly indicating the rising interest in childhood and individual development during the Renaissance.

Additionally, the painting showcases Pinturicchio’s skill as a colorist and master of delicate detail, qualities that were also evident in his frescoes. His ability to balance realism with an idealized beauty reflects the transitional nature of late 15th-century Italian art, bridging the decorative elegance of early Renaissance portraiture with the greater psychological depth that would come to define the High Renaissance.

In summary, Portrait of a Boy stands out as an intimate and refined example of Renaissance portraiture, demonstrating Pinturicchio’s ability to merge technical precision, humanist ideals, and emotional sensitivity in his depiction of an individual subject.

Change in Colour.

Pinturicchio’s Portrait of a Boy has undergone a notable color shift due to the degradation of certain pigments, particularly in the depiction of the boy’s skin tones.

Pigment Degradation and the Bluish Hue

Originally, Pinturicchio would have used warm, naturalistic flesh tones, likely composed of organic and mineral pigments common in Renaissance portraiture. However, over time, some pigments have deteriorated, leading to an unintended bluish or greenish hue in the boy’s face. This phenomenon is often the result of the fading or chemical alteration of red and yellow pigments, which were essential for achieving lifelike skin tones.

One possible cause is the decomposition of lead-based whites and organic lakes (such as cochineal or madder), which were commonly used to create the warm undertones of human skin. These pigments are known to be unstable, particularly when exposed to humidity, air pollution, or improper conservation conditions. As the warmer hues faded, what remains is the underlying cooler pigments, such as azurite or verdigris, which were sometimes mixed into flesh tones to create shadows but were never meant to dominate the final coloration.

This alteration gives the boy’s face a slightly unnatural, ghostly or bluish appearance, which would not have been Pinturicchio’s original intention. Despite this, the portrait still retains its delicate modeling and expressive depth, testifying to the artist’s skill.

How This Fits into Renaissance Art

Such pigment failures were not uncommon in Renaissance and early modern paintings. Many artists experimented with layering techniques and pigment mixtures that, while vibrant at the time, did not always hold up to centuries of exposure and aging. Similar issues can be observed in other works, such as Leonardo da Vinci’s fresco of The Last Supper, where experimental paint application led to rapid deterioration.

Despite these changes, Portrait of a Boy remains a remarkable example of Renaissance portraiture. In some ways, the color shift adds to the painting’s historical intrigue, serving as a reminder of both the technical challenges faced by early painters and the delicate nature of conservation efforts today.

Christian Seybold, Retrato de una anciana and Jean-Étienne Liotard, Selbstbildnis in türkischer Tracht (Self-Portrait in Turkish Costume,

Christian Seybold’s Retrato de una anciana (before 1768) is a striking and intimate portrait of an elderly woman, executed with remarkable realism. The sitter’s deeply lined face, slightly reddened complexion, and expressive gaze convey a strong sense of personality and lived experience. Seybold captures every wrinkle and subtle nuance of her expression, emphasizing the passage of time. The woman is dressed modestly, with a white headscarf and simple attire, reinforcing the unidealized, almost documentary quality of the work. The dark background isolates the figure, drawing attention to the meticulous detail and lifelike textures of her skin, fabric, and hair.

Context in 18th-Century Art

During the 18th century, European portraiture was largely dominated by the Rococo style, known for its idealized depictions of aristocrats in luxurious settings. Artists such as François Boucher and Jean-Honoré Fragonard painted figures with soft, delicate features and an air of playfulness or refinement. However, Seybold’s work stands in stark contrast to this approach.

Seybold was part of a movement influenced by Northern European realism, particularly the Dutch and Flemish Baroque traditions of the 17th century, which focused on unembellished, truthful representations of human subjects. His portraiture aligns more closely with the detailed and psychologically rich works of artists like Rembrandt or Frans Hals, who sought to capture not just a sitter’s likeness but their character and emotional depth.

In the Austrian and German-speaking regions, where Seybold was active, portraiture was evolving under the influence of both Baroque realism and the Enlightenment’s emphasis on human individuality. Artists sought to depict subjects with greater psychological depth, moving away from mere flattery toward a more honest and observational approach.

Significance of the Painting

Retrato de una anciana is significant because it represents a rare non-idealized portrait in an era when most commissioned portraits were intended to flatter the sitter. Seybold’s work serves as a bridge between the realist traditions of the Baroque period and the emerging 18th-century interest in individual character studies. His meticulous attention to detail and lifelike textures highlight the growing appreciation for scientific observation and the Enlightenment’s focus on truth and reason in art.

This portrait, with its raw and honest depiction of aging, challenges the era’s prevailing artistic norms, making it a powerful example of realism within 18th-century portraiture.

Jean-Étienne Liotard’s Selbstbildnis in türkischer Tracht (Self-Portrait in Turkish Costume, 1744/45) is a fascinating and unconventional self-portrait that reflects both the artist’s personality and the broader cultural interests of 18th-century Europe. In this work, Liotard presents himself in exotic Ottoman attire, wearing a luxurious red robe, a white turban, and a long, flowing beard. His expression is calm yet direct, with a slight smile that conveys self-assurance and curiosity. Unlike the grand self-portraits of many of his contemporaries, which often depicted artists in formal European clothing or aristocratic settings, Liotard chooses an almost ethnographic approach, emphasizing the rich textures of fabric and the authenticity of his adopted foreign dress. The soft, delicate modeling of his features, combined with the smooth application of pastels, showcases his technical mastery.

Context in 18th-Century Art

Leotards self-portrait is deeply tied to the 18th-century European fascination with the “Orient,” a cultural phenomenon often referred to as Orientalism. During this period, artists, writers, and intellectuals became captivated by the customs, dress, and aesthetics of the Ottoman Empire and the Middle East. This interest was fueled by increasing diplomatic relations, trade, and travel, particularly among European elites.

Liotard himself spent several years in the Ottoman Empire, particularly in Constantinople (modern-day Istanbul), where he became known as “the Turkish painter” due to his embrace of Ottoman fashion and customs. His choice to depict himself in Turkish attire was not merely a stylistic whim—it reflected his personal experiences and immersion in Eastern culture, setting him apart from other European portraitists of his time.

While many artists depicted “Oriental” themes in an idealized or fantastical manner, Liotard’s approach was notable for its authenticity and attention to detail. His works avoided the dramatic exaggerations often found in Baroque or Rococo depictions of the East, instead focusing on precise observation and realism. His technique, particularly his use of pastel, also aligned with the growing Rococo emphasis on softness, delicacy, and naturalism, though his commitment to documentary accuracy set him apart from more decorative Rococo painters like François Boucher.

Significance of the Painting

Selbstbildnis in türkischer Tracht is significant as both an artistic statement and a personal reflection of Liotard’s unique career. At a time when most European artists painted themselves in formal Western attire to assert their status, Liotard’s choice of Ottoman clothing signals his cosmopolitan identity and unconventional artistic persona. The painting also serves as a testament to 18th-century cross-cultural exchange, highlighting the ways in which travel and diplomacy shaped artistic production.

Beyond its cultural significance, the painting showcases Liotard’s exceptional skill in capturing texture, fabric, and naturalism, particularly through his mastery of pastels. His precise, almost photographic rendering of details set him apart from many of his contemporaries and influenced later portraitists who sought greater realism in their work.

In summary this self-portrait is not just an image of an artist—it is a statement of identity, cultural engagement, and technical excellence, making it a remarkable example of 18th-century portraiture and Orientalist influence in European art.

The marble bust of King Augustus II of Poland, Paul Heermann (1673–1732) and Christian Seybold. Portrait of the Artist’s Daughter (1761).

Christian Seybold’s Portrait of the Artist’s Daughter (1761) is a compelling example of 18th-century portraiture, emphasizing realism and intimate characterization. The painting depicts a young girl, believed to be Seybold’s own daughter, rendered with meticulous attention to detail. Her gentle expression and direct gaze engage the viewer, conveying both innocence and a sense of individuality. The soft lighting and delicate brushwork highlight Seybold’s skill in capturing the subtleties of human emotion and form. This work stands out within the era for its departure from the more formal and idealized portraits common at the time, offering instead a personal and lifelike representation. The painting is also known as Portrait of the Artist’s Daughter and is part of the Liechtenstein Princely Collections.

Christian Seybold’s Idealized Portrait of a Young Girl, also known as Mädchen mit Schleier (“Girl with Veil”), is housed in the Gemäldegalerie Alte Meister, part of the Staatliche Kunstsammlungen Dresden in Germany.  The painting is an oil on copper piece measuring 46.5 cm in height and 37.5 cm in width. 

Oil painting on copper is a fascinating technique that was particularly popular from the late 16th to the 18th century. Unlike traditional canvas or wood panels, copper provided a smooth, non-absorbent surface that allowed for exceptional detail and luminosity. Here are some key aspects of this medium:

Why Copper?

1. Smooth Surface – Unlike wood or canvas, which have grain or texture, copper plates allow for incredibly fine brushwork and crisp details. This made it ideal for miniature paintings and highly detailed compositions.

2. Durability – Copper is more resistant to warping, cracking, and insect damage compared to wood panels. Paint adheres well to it, ensuring longevity.

3. Luminosity – The reflective quality of the metal enhances the vibrancy of oil paints, often giving works a jewel-like glow. Many artists used thin, translucent glazes to take advantage of this effect.

Historical Context

• The technique gained popularity in Flanders and Italy in the late 1500s, with artists like Jan Brueghel the Elder, Peter Paul Rubens, and Elsheimer using copper for small, detailed paintings.

• In the 17th and 18th centuries, it spread to France, Germany, and Austria, where artists like Christian Seybold continued the tradition, often for portraits.

• It was particularly favored for cabinet paintings—small-scale, highly detailed works collected by connoisseurs and displayed in private spaces.

Challenges and Techniques

• Preparation – The copper plate had to be cleaned, sanded, and primed (often with a lead-based ground) to ensure oil paint would adhere properly.

• Handling Paint – Because the surface was slick, artists had to layer and build up paint more deliberately than on absorbent surfaces like wood or canvas.

• Oxidation Issues – Over time, if not properly treated, copper could corrode, causing paint layers to deteriorate. Many old copper paintings have greenish oxidation spots if they weren’t well preserved.

Legacy and Modern Use

While less common today, some contemporary artists still experiment with oil on copper due to its unique aesthetic qualities. Museums often display historical works on copper in pristine condition because the material helped preserve the original colors better than other supports.

Other paintings on Copper Plate.

                                                              1. “The Annunciation” by Lavinia Fontana (c. 1575)

This early example showcases Fontana’s intricate detail and vibrant colors, enhanced by the smooth copper surface.

2. “Mountainous Landscape with Saint Jerome” by Paul Bril (1592)

Bril’s landscape demonstrates the precision achievable on copper, depicting a serene scene with remarkable clarity.

3. “Juno in the Underworld” by Jan Brueghel the Elder (1596-98)

This painting illustrates Brueghel’s mastery in creating complex compositions with fine detail, benefiting from the copper’s durability.

4. “Fishing for Coral” by Jacopo Zucchi (c. 1590)

Zucchi’s work, housed in the Lviv National Art Gallery, exemplifies the luminous quality that copper imparts to oil paints.

5. “Allegory of Sight” by Jan Brueghel the Younger (c. 1660)

This painting, part of a series on the senses, utilizes the copper medium to achieve intricate detail and a rich palette.

The marble bust of King Augustus II of Poland, created around 1718 and housed in Dresden’s Gemäldegalerie Alte Meister, is attributed to the German sculptor Paul Heermann (1673–1732).  Heermann, son of sculptor George Heermann, worked in Prague, Rome, and Dresden, and was renowned for his Baroque-style sculptures. This particular bust exemplifies the grandeur and theatricality characteristic of Baroque art, capturing Augustus II’s regal authority and strength. 

The marble bust of King Augustus II of Poland, created around 1718, is a striking representation of the monarch’s regal authority and grandeur. Carved from white marble, the bust stands 74 cm high (excluding the pedestal) and is housed in the Gemäldegalerie Alte Meister in Dresden.

Augustus II, also known as Augustus the Strong, was the Elector of Saxony and King of Poland, a ruler renowned for his political ambition, patronage of the arts, and legendary physical strength. The sculpture captures him in a commanding pose, with a powerful, confident expression that conveys both his imperial stature and forceful personality. His features—broad forehead, strong nose, and resolute gaze—are meticulously carved, emphasizing his presence as a ruler.

The bust also reflects the Baroque era’s love for grandeur and theatricality. Augustus II is depicted wearing an elaborately sculpted armored cuirass, adorned with finely detailed decorations, and draped with a voluminous, flowing cloak. This dynamic contrast between the hard, polished surface of the armor and the soft, almost weightless folds of the fabric is a hallmark of high Baroque sculpture, designed to heighten the sense of drama and movement.

Context in Baroque Art and Augustus II’s Patronage

The early 18th century was dominated by the Baroque style, which celebrated power, opulence, and dynamic movement in both painting and sculpture. In portrait sculpture, rulers and aristocrats sought to project majesty, heroism, and divine authority, often through idealized yet expressive depictions. This bust aligns with that tradition, presenting Augustus II as a classical-style ruler—strong, dignified, and almost godlike in his presence.

Augustus II was not just a political figure but also a major patron of the arts, instrumental in shaping Dresden’s cultural landscape. His reign saw the flourishing of Baroque architecture, sculpture, and painting, turning Dresden into a major artistic center. He was responsible for commissioning grand projects such as the Zwinger Palace, where his fascination with sculpture and decorative arts found full expression.

This bust likely served a propagandistic function, reinforcing his image as a powerful and enlightened ruler. Such portraits were commonly placed in royal palaces, official buildings, or public spaces as a symbol of authority and dynastic legitimacy. The use of marble, a material associated with antiquity and permanence, further underscores the timeless and exalted image Augustus sought to cultivate.

Significance of the Sculpture

This bust is a prime example of Baroque court portraiture, combining monumentality, theatricality, and idealization to present Augustus II as the embodiment of absolute power and royal magnificence. Its detailed craftsmanship and dramatic composition reflect the artistic excellence of Dresden’s Baroque period, a legacy that Augustus II actively promoted.

Furthermore, this work exemplifies the fusion of art and political imagery that defined early 18th-century sculpture. By portraying himself in the grand style of classical rulers, Augustus II aligned himself with the great emperors of history, reinforcing his dynastic aspirations and status as a European power player.

Conclusion

The bust of Augustus II of Poland (c. 1718) is more than just a remarkable piece of sculpture—it is a political statement and a testament to the grandeur of the Baroque age. As a reflection of Augustus II’s ambition and cultural patronage, it stands as a significant artifact of both Saxon and Polish royal history, embodying the artistic and political ideals of early 18th-century Europe.

Rotari, Pietro Antonio Graf (1707-1762) - Maria Antonia von Bayern. Rotari, Pietro Antonio Graf (1707-1762)”Man with a fur cap, raising his right index finger”