A refined portrait by Belgian artist Théo van Rysselberghe, featuring Renée Druet with her violin, rendered in charcoal and coloured chalk.

This portrait by Théo van Rysselberghe captures Renée Druet, a frequent subject of the artist, in a moment of quiet focus. Van Rysselberghe, a central figure in the Belgian Neo-Impressionist circle, demonstrates his command of line and tone in this work. While he is often associated with the pointillist technique, his drawings reveal a more fluid, expressive approach to form. The subject is depicted in profile, holding a violin, with her gaze directed toward the viewer.

The composition relies on the interplay between the dark, hatched background and the lighter, more defined areas of the figure. Van Rysselberghe uses charcoal to build depth, creating a sense of volume in the subject's dress and the contours of her face. The addition of coloured chalk provides subtle warmth, particularly in the rendering of the violin and the soft highlights on the skin. The background is composed of rhythmic, diagonal strokes that suggest a sense of movement, contrasting with the stillness of the sitter.

This piece reflects the artist's interest in capturing the character of his subjects through a combination of precise observation and gestural mark-making. The lack of excessive detail allows the viewer to focus on the expression of the sitter and the physical presence of the instrument. As a study, it offers insight into the artist's process, showing how he balanced structural integrity with a more spontaneous, atmospheric quality. The work remains a fine example of early twentieth-century portraiture, demonstrating the technical skill that defined Van Rysselberghe's career beyond his better-known oil paintings.