Portrait of Michel Le Blon (1587-1656) after 1700

Editor: This is *Portrait of Michel Le Blon*, rendered in oils, and attributed to Anthony van Dyck, dating from after 1700, here at the Rijksmuseum. I am struck by the man's gaze and confident air but what specifically stands out to you in terms of its construction? Curator: Note first how the composition directs our attention to the face. The stark contrast between the white lace collar and the dark fabric of the sitter's coat sharply frames his face. The dark background furthers this framing. Editor: So, you’re suggesting that van Dyck’s considered placement of light and dark directs our reading? Curator: Precisely. It’s also worth looking at the interplay between line and mass here. Van Dyck captures the materiality of flesh. Notice, also, the looseness of the brushstrokes— particularly in the sitter’s hair against the relatively smoother texture of the face. Do you find the contrasting techniques to be disruptive, or rather enriching? Editor: I think the slightly softer focus actually enhances the sense of depth and makes him look less flat, and adds to the realistic effect. I've learned how strategic manipulation of light and technique gives van Dyck an edge. Thanks for the lesson. Curator: Indeed. It is through just such close observation and attention to formal qualities that we come to a greater understanding of an artist's technique and intentions.