Anthony van Dyck, Self-portrait

A portrait by painter Anthony van Dyck from 1617. But who painted it?  The master Rubens or the pupil himself? Innovative research yielded a definitive answer: the young van Dyck unleashed his extraordinary talent on himself. With a stunning end result. Although this self-portrait was not his first selfie. As a teenager, he also captured himself on canvas.  

The play of light and shadow gives it something of a snapshot. The young Anthony turns to the 'lens' almost by chance. It was long assumed that Rubens had captured this snapshot. That makes sense, because his pupil possessed the unique talent to do exactly what Rubens expected of him: paint in his signature style. No-one could do that as accurately as Anthony, as Rubens quickly realised. That's why he brought the just-turned 18-year-old prodigy on board to help in his studio.   

Anthony van Dyck was no ordinary pupil of Rubens. We know that from the biography by Rubens' cousin Filip. According to Filip, Anthony was even 'welcomed into the family'. What exactly that meant in those days, and whether he went along on trips or ate at the family table, we can't say for sure. But van Dyck was in the inner circle. In the front row.

Although fully in the style of Rubens, the pose with the turned head and piercing gaze suggested otherwise: this is an authentic van Dyck. Groundbreaking research in collaboration with Antwerp University and KU Leuven confirmed the hypothesis, by meticulously reconstructing the creative process using the analytical imaging technique MA-XRF.  

And what was the outcome? The hat was not part of the original design, the face was initially rounder and the cloak and collar was a lot more modest at first. But the painted wing was conclusive proof. Almost identical to the one in van Dyck's Daedalus and Icarus, in which he incorporated his own face.

When van Dyck painted this self-portrait, he was on the verge of an international breakthrough. Besides his home port of Antwerp, Genoa and London were also enamoured by his talent for portraiture. He was at ease in noble circles, and was even knighted by King Charles I of England, becoming the latter's court painter.   

That ambitious look is therefore no coincidence. The wide coat with lace collar and the hat pushed forward on his golden blonde locks complete the dandy look. He looks you straight in the eye. As though - just for you - he's put his brush to one side for a moment.