Scholarly Views
A contemporary image of the playwright is the engraving in the posthumously-published First Folio of 1623, which was created by Martin Droeshout and was probably commissioned by Shakespeare's friends and family. It is considered likely that the Droeshout engraving is a reasonably accurate likeness because of the use by these close associates and that contemporaries such as Ben Jonson praised it at the time of the publication. Since the man in the Chandos portrait resembles the one in the Droeshout engraving, the similarity lends an indirect legitimacy to the oil painting. A further indication of legitimacy is the fact that the Chandos portrait was the inspiration for two posthumous portraits of Shakespeare, one by Gerard Soest and another, grander one, known as the "Chesterfield portrait" after a former owner of that painting. These were probably painted in the 1660s or 1670s, within living memory of Shakespeare. The Chesterfield portrait is held by the Shakespeare Birthplace Trust in Stratford-upon-Avon.
In 2006, Tarnya Cooper of the National Portrait Gallery completed a three-and-a-half-year study of portraits purported to be of Shakespeare and concluded that the Chandos portrait was most likely a representation of Shakespeare. Cooper points to the earring and the loose shirt-ties of the sitter, which were emblematic of poets (the poet John Donne and Shakespeare's patron the Earl of Pembroke sported similar fashions). However, she readily acknowledges that the painting's authenticity cannot be proven.
Cooper also notes that the painting has been badly damaged by over-cleaning and retouching. Parts are abraded and some parts have been slightly altered. The hair has been extended and the beard is longer and more pointed than when originally painted.
Read more about this topic: Chandos Portrait
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