The writer identifies a previously anonymous portrait of Coenraad Ruysch (Familiestichting Teding van Berkhout, the Netherlands) as the work of Ferdinand Voet. Describing the work, he contends that in stylistic terms it fits seamlessly with the portraits made by Voet in Rome, and that it can be compared to portraits he made for Grand Tourists visiting the city. He goes on to verify this identification on the basis of two other portraits of Ruysch before discussing evidence for the production of the work in Rome, featured in the extensive travel journal kept by Ruysch while on his Grand Tour.
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