Who painted Standing Soldier in a Long Cloak?

Standing Soldier in a Long Cloak was painted by Teodoro Filippo di Liagno in 1607.

Where can I see Standing Soldier in a Long Cloak?

Standing Soldier in a Long Cloak is held by National Gallery of Art.

What movement is Standing Soldier in a Long Cloak?

Standing Soldier in a Long Cloak is associated with Renaissance.

Artwork

Standing Soldier in a Long Cloak

Teodoro Filippo di Liagno , 1607

Standing Soldier in a Long Cloak is an ink print by the Renaissance artist Teodoro Filippo di Liagno. It dates from 1607 and is held in the collection of the National Gallery of Art.

About this work

Overview

Teodoro Filippo di Liagno’s 1607 etching, titled Standing Soldier in a Long Cloak, presents a solitary figure rendered in monochrome. The print captures a man in a voluminous cloak, his posture suggesting a brief pause as he adjusts his hat with one hand while clutching a rolled document in the other. The composition rests on a minimal ground line, emphasizing the figure’s isolation.

Subject & Meaning

The work portrays a weary soldier, his expression subdued and his attire heavy, hinting at the burdens of military service in the early seventeenth century. The inclusion of a folded paper may allude to orders or correspondence, underscoring the administrative duties that accompanied combat roles. The figure’s stance, caught mid‑adjustment, conveys a moment of personal respite amid duty.

Technique & Style

Executed as an etching, the image derives from a metal plate incised with fine lines that hold acid‑resistant ground. Di Liagno’s handling of line creates delicate textures, especially in the folds of the cloak and the subtle gradations of shadow. The absence of colour directs attention to the intricate hatching, which defines volume and surface tension across the figure’s attire and features.

History & Provenance

Created in 1607, the print belongs to a period when etching was gaining popularity among Italian artists for its capacity to render detailed, reproducible images. While specific ownership records are scarce, the work is catalogued among di Liagno’s surviving prints, indicating it was likely circulated among collectors interested in military portraiture during the early Baroque era.

Context

The early seventeenth century saw a rise in depictions of soldiers as symbols of civic pride and personal valor. Di Liagno’s choice to focus on a solitary, introspective figure contrasts with more elaborate battle scenes of the time, reflecting a shift toward individualized portraiture that emphasized personal experience over collective spectacle.