Jan Mildert n.d.

Curator: Ah, here we have a drawing attributed to Anthony van Dyck, titled “Jan Mildert.” It’s undated, but housed right here at The Art Institute of Chicago. A study in charcoal, chalk, and pencil on paper. Editor: It's disarming, in a way. Intimate, but almost haunting with its pale tonality and sense of suspended animation, don't you think? The stark contrasts almost flatten the picture plane. Curator: Exactly! And consider the skill with which Van Dyck captures Mildert's likeness. The eyes, holding this penetrating gaze. You feel he could look right through you. Editor: Those eyes are intriguing! The slightly averted gaze creates a compelling dynamic. But tell me, is it a fully realised portrait, or more a preparatory sketch? Curator: The line work leans toward spontaneity, an attempt to grasp the essence of Mildert quickly. Observe the unfinished areas around the ruff collar for instance; they give us insight into Van Dyck’s working methods. The medium certainly facilitates this air of improvisation. Editor: The texture of the paper visible beneath the drawing contributes, as well, creating a delicate interplay between the represented subject and the material reality of the work. The hatching in the clothing juxtaposed with the sensitive attention to detail on his face is a rather fascinating touch. It's not quite photographic detail, but a very lifelike presence conveyed, nonetheless. Curator: Absolutely! The unfinished nature is integral to the work’s beauty. I appreciate that this piece encourages us to appreciate art making as a process. And consider the power of line here, its ability to evoke form, shadow, even psychological depth. Editor: It reminds me how much drawings encapsulate what painting often seeks to express--capturing transient perceptions. It seems so much less mediated in comparison. I see Van Dyck here exploring what makes an individual human, with all of his softness and solidity rendered beautifully. Curator: A perfect coda for viewing "Jan Mildert" at The Art Institute. Let’s move onward.