Portrait of Cornelis van der Geest 1620

Anthony van Dyck painted this oil on wood panel portrait of Cornelis van der Geest in the 17th century. What’s most striking is its deliberate incompleteness: the illusionistic frame around the sitter’s head, and the painted trompe l'oeil of a disembodied hand, both set against a field of dark, unresolved ground. Van Dyck’s loose, gestural brushwork animates this composition, creating a sense of immediacy. The fluidity with which he renders the sitter's face, contrasting with the crisp ruff, imbues the portrait with a tangible presence. But what of that hand? We might imagine the artist’s process, rapidly building up layers of paint, and then deciding to leave certain elements unresolved. This gives us a peek into the painting’s making. By leaving the painting in a seemingly unfinished state, Van Dyck elevates the notion of artistic process. It reminds us that portraits of wealthy merchants like van der Geest are the result of labor. This challenges the traditional hierarchy between the fine arts and other forms of skilled work.