Portrait of Ferdinando II de Medici Justus Sustermans (1597-1681)

The portrait presents a man in three-quarter view, his gaze directed downwards and towards the viewers left. He is depicted against a dark, featureless background that emphasizes the subjects presence and isolates him visually. The sitter wears a crimson garment with a high collar, its rich color contrasting sharply with the pallor of his skin. His hair is styled in a short, neat fashion, framing a face marked by an unusual and striking condition.
The most immediate and compelling aspect of this work is the subject’s complexion. A dense scattering of small bumps or lesions covers much of his face and neck, creating a textured surface that dominates the visual field. This detail immediately draws attention and invites speculation about its significance. The artist has rendered these imperfections with meticulous precision, avoiding any attempt to soften or conceal them.
The man’s expression is one of quiet resignation, perhaps even melancholy. His lips are slightly parted, suggesting a suppressed sigh or a moment of inward reflection. This subdued emotional state contributes to the overall sense of solemnity and introspection that permeates the painting. The closed eyelids suggest an attempt at shielding himself from external observation, adding another layer of complexity to his demeanor.
The inscription in the upper right corner, IL NONO GIORNO DEL VAJOLO FERD. II GRA D. TO 1626, provides a crucial contextual element. It indicates that this is a record of a specific day – the ninth day of the Vajolo – and identifies the subject as Ferdinando, Grand Duke of Tuscany, in the year 1626. The term vajolo likely refers to a medical condition or affliction, further reinforcing the significance of the skin’s appearance.
The painting transcends a simple likeness; it functions as a visual document of a particular moment and a record of a physical ailment. It is probable that the portrait was commissioned to commemorate this event, serving both as a historical record and potentially as an attempt to manage public perception of the Grand Dukes condition. The artist’s decision not to idealize or sanitize the subject’s appearance suggests a desire for honesty and accuracy, even at the expense of conventional notions of beauty or decorum.
The work raises questions about power, vulnerability, and representation. It is an unflinching portrayal that challenges viewers to confront issues of illness, mortality, and the complexities of human identity within the context of aristocratic privilege.