Abstract
This essay examines two paintings of Dr. Frederik Ruysch (1638–1731) conducting public anatomy lessons in the Amsterdam dissecting theater. Painted by Adrian Backer and Jan van Neck respectively, they were part of a series of portraits commissioned by the Amsterdam surgeons' guild between 1603 and 1758. Ruysch's primary contribution to anatomy was his invention of revolutionary techniques for preserving human body parts, which he displayed in his cabinet of curiosities, melding anatomical demonstration with emblematic vanitas art. Forfeiting truth in favor of spectacle, the viewer was always meant to be aware of Ruysch's role as creator of both image and specimen.
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