This oil painting by Jan van Eyck, often believed to be a self-portrait, captivated me with its technical mastery and bold presence. In my copy, I chose to follow the traditional Flemish techniques used in the 15th century, particularly the grisaille method — a monochrome underpainting that emphasizes light and shadow to build depth, a hallmark of Early Netherlandish art.
I was drawn to this piece not only for its historical significance but also because it’s an ideal subject for technical study. The complex drapery of the turban occupies a large portion of the composition and requires careful observation and execution. The face is rendered with extraordinary realism: visible wrinkles, blood vessels in the eyes, even the texture of stubble from a few days’ beard growth.
But beyond the technique, this portrait also speaks to me on a more personal level. There’s a sense of quiet defiance in it. The man’s gaze is direct, almost confrontational — breaking with the conventions of the time. It may well be the first portrait in a millennium to look straight at the viewer. The turban, too, resists easy categorization, asserting its sculptural presence in a way that feels almost modern.