Fouquet, Jean – Self-portrait of Fouquet (1450), copper, blue enamel and gold. Only remaining piece of a diptych ordered for the church of Notre-Dame in Melun by Etienne Chevalier, secretary and counsellor to French king Charles VII. Diameter 6.8 cm-OA 56 Part 5 Louvre

The circular composition presents a frontal portrait rendered in copper and enamel, with gold leaf applied to highlight facial features and clothing. Here we see a man depicted from the chest upwards, his gaze directed towards the viewer with a directness that establishes an immediate connection. The artist has employed a technique of layered application, creating a textured surface that catches light unevenly, contributing to a sense of depth and volume despite the small scale.
The subject’s attire suggests a position of some status; the collar appears to be fastened with a decorative clasp, and the folds of his garment are carefully indicated through subtle variations in the coppers surface treatment. The face itself is characterized by a certain solemnity. While not overtly unhappy, there is an underlying seriousness conveyed through the slightly downturned mouth and the intensity of the eyes. Fine lines etched into the skin suggest age or perhaps a life marked by experience.
Flanking the portrait are inscriptions rendered in elaborate Gothic script against a black enamel background. The lettering appears to spell out a name, though its precise legibility is somewhat obscured by the image quality. These inscriptions serve not merely as labels but also as decorative elements that frame and contextualize the central figure. Their placement suggests an intentional integration of text and image, elevating the portrait beyond a simple likeness into something more akin to a commemorative object or devotional piece.
The use of copper and enamel, combined with gold leaf, speaks to the value placed on this work. The materials themselves were costly and required considerable skill to manipulate, indicating that the commission was likely from someone of means. Given its original context within a diptych intended for a church, it is plausible that the portrait served as a representation of a patron or significant figure associated with the institution.
Subtly, the work conveys an impression of self-awareness and perhaps even a degree of introspection. The direct gaze suggests not only confidence but also a willingness to be scrutinized. The overall effect is one of restrained dignity and quiet authority, hinting at a man who understands his place within a complex social hierarchy.