Jan van Eyck, in fact, was one of the first to paint portraits as works of an independent genre – a genre with his own laws and tasks. He is not too diverse in techniques: the presented portrait repeats these techniques, already known to us from other portraits reproduced in this issue.
And yet a new word in portraiture was said. And it was said by van Eyck. It was he who first concentrated on the face of the model, as the “window” of its unique inner world. In this podhrudnoi composition, it is the face, which manifests itself on a dark solid background, with its outward impassivity, reveals to us a man who has experienced and thought a lot.
Related Paintings 
Portrait of Margret van Eyck’s wife by Jan van Eyck 
Portrait of a young man (Timothy) by Jan van Eyck 
Madonna with the Cartesian monk by Jan van Eyck 
Portrait of Cardinal Niccolo Albergati by Jan van Eyck 
Portrait de la femme de Margret van Eyck – Jan van Eyck 
Homme d’oeillet – Ian Van Eyck 
Portrait of the four Arnolfini by Jan van Eyck 
The Crucifixion. Diptych. Left shutter by Jan van Eyck
Portrait of Margret van Eyck’s wife by Jan van Eyck Portrait of a young man (Timothy) by Jan van Eyck Madonna with the Cartesian monk by Jan van Eyck Portrait of Cardinal Niccolo Albergati by Jan van Eyck Portrait de la femme de Margret van Eyck – Jan van Eyck Homme d’oeillet – Ian Van Eyck Portrait of the four Arnolfini by Jan van Eyck The Crucifixion. Diptych. Left shutter by Jan van Eyck