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拍品專文
Born in Antwerp, Jacob Ferdinand Voet settled in Rome from 1663 to 1680, where he became a member of the Bentvueghels (or Schildersbent), a society of Dutch and Flemish painters active in the city in the second and third quarters of the seventeenth century. As part of this association, Voet became one of the most well-known and fashionable portraitists in Rome, a fame that earned him the nickname of ‘Ferdinando dei Ritratti’. During these years, he received numerous commissions from some of the most prominent aristocratic families.
This portrait stands as testament to this fact, depicting Carlo Colonna (1665-1739), son of Lorenzo Onofrio Colonna, Prince and Duke of Paliano and Viceroy of Aragon and Naples. As Francesco Petrucci has confirmed from photographs, the present work, oval in format, is a superb version of a portrait in a feigned oval held at Palazzo Colonna in Rome, the seat of the family in the city. A pendant to the Colonna version depicting Carlo's brother Marcantonio is also preserved in the collection. Although probably eight years old, Carlo is dressed in the French fashion and as lavishly as any adult nobleman, like the artist's portrait of his father at the Palazzo Pallavicini-Rospigliosi.
As in his father's portrait, a voluminous brown and curly wig frames his youthful face and he wears an intricate white lace jabot; exuberant pink ribbons adorn on his right shoulder, standing out against his black jacket, finished with gold buttons. Carlo’s brother, Marcantonio, is attired identically in the pendant to the version held in Rome.
Carlo Colonna, here portrayed in a childlike attitude with a hint of playfulness, would go on to live an eventful, somewhat novelesque life. After the annulment of an unconsummated marriage to a woman who would subsequently become a nun, Carlo had three children out of wedlock; one can speculate that these situations prompted him to reevaluate his faith, for he then decided to take holy orders himself. Following several high-ranking positions in the Vatican, his ecclesiastic career culminated in his elevation to Cardinal in 1706. A lifelong enthusiast of the arts, he was a patron to the German-British composer Georg Friedrich Händel.
This portrait stands as testament to this fact, depicting Carlo Colonna (1665-1739), son of Lorenzo Onofrio Colonna, Prince and Duke of Paliano and Viceroy of Aragon and Naples. As Francesco Petrucci has confirmed from photographs, the present work, oval in format, is a superb version of a portrait in a feigned oval held at Palazzo Colonna in Rome, the seat of the family in the city. A pendant to the Colonna version depicting Carlo's brother Marcantonio is also preserved in the collection. Although probably eight years old, Carlo is dressed in the French fashion and as lavishly as any adult nobleman, like the artist's portrait of his father at the Palazzo Pallavicini-Rospigliosi.
As in his father's portrait, a voluminous brown and curly wig frames his youthful face and he wears an intricate white lace jabot; exuberant pink ribbons adorn on his right shoulder, standing out against his black jacket, finished with gold buttons. Carlo’s brother, Marcantonio, is attired identically in the pendant to the version held in Rome.
Carlo Colonna, here portrayed in a childlike attitude with a hint of playfulness, would go on to live an eventful, somewhat novelesque life. After the annulment of an unconsummated marriage to a woman who would subsequently become a nun, Carlo had three children out of wedlock; one can speculate that these situations prompted him to reevaluate his faith, for he then decided to take holy orders himself. Following several high-ranking positions in the Vatican, his ecclesiastic career culminated in his elevation to Cardinal in 1706. A lifelong enthusiast of the arts, he was a patron to the German-British composer Georg Friedrich Händel.