Salviati painted the Florentine medical doctor Carlo Rimbotti when both men belonged to the literary society, the Accademia Fiorentina. The vivid quality of psychological presence suggests that this was an informal portrait for a friend. The precise observation—note the moles on Rimbotti’s brow and forehead—is in contrast with the formality and artifice of Bronzino’s portrait that hangs nearby. There, the young man is psychologically distant and surrounded by objects that allude to his status and interests. Most contemporary portraits followed Bronzino’s lead. Salviati’s is a rare attempt to encourage the viewer to draw close to this remarkable sitter.
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