Self Portrait 1909

This compelling portrait was painted by Jan Mankes, probably early in his career, with a muted palette of grey, pink, and brown oil paint. Just imagine Mankes standing before his mirror, scrutinizing his own image to capture the planes of his face, the set of his jaw, the way the light catches in his eyes. The paint is applied in thin, deliberate layers, creating a smooth, almost porcelain-like surface. The texture is very subtle, which gives the portrait an intimate feel, like a quiet conversation. He's working in a very realist mode but it's as if he's also thinking about how a painting is put together – how all the edges work together and how the colours speak to one another. It reminds me of other artists like Hammershoi, who were working with a similar quiet intensity. Artists are always in conversation with one another, you know? Mankes' process reminds us that painting is a form of embodied expression, embracing ambiguity and multiple interpretations.