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SOFONISBA ANGUISSOLA'S "PONCE PORTRAIT OF A YOUNG MAN"

Most scholarship on Sofonisba Anguissola's art focuses on her portraits in general and selfportraits in particular.1 To date, however, no art historian has analyzed the gender-based differences between the style and iconography of Anguissola's male portraits and those of male painters who paint female portraits.2 The purpose of this essay is threefold: to examine Anguissola's Ponce Portrait of a Young Man of 1579-1580 (now at the Museo de Arte de Ponce, Puerto Rico Fig. 1), to attempt to identify its subject, and to address the context in which the portrait was conceived. The provenance of the Ponce Portrait of a Young Man is not clear. What is known is that in Paris in 1910, the art dealer and restorer Joseph Leegenhoek consigned the painting to Vienna's Dorotheum auction house.3 On November 19, 1966, the Dorotheum sold the painting (lot no. 4) to the Puerto Rican industrialist and engineer Luis Ferré, who founded the Museo de Arte de Ponce and the Fundación Luis Ferré.4 The painting is executed on slate (lavagna), a material available in Genoa, which Anguissola visited in 1559 on her way to Barcelona, where she would later reside.5 In employing this medium, she followed Giorgio Vasari's suggestion that a "picture painted on slate lasts much longer than any other material."6