A 1661 self-portrait by Dutch artist Moses ter Borch, rendered in black and white chalk on blue paper.

This self-portrait by Moses ter Borch, executed in 1661, demonstrates the technical proficiency common among the younger members of the Ter Borch family. Working with black and white chalk on blue paper, the artist captures a direct, upward-looking perspective that creates a sense of immediacy. The blue paper acts as a mid-tone, allowing the artist to build form through the application of white chalk for highlights and black chalk for shadows, a technique frequently employed by Dutch draughtsmen of the seventeenth century.

Moses ter Borch was the younger half-brother of the more famous Gerard ter Borch. Despite his short life, his surviving drawings reveal a keen eye for character and a confident hand. In this work, the artist focuses on the play of light across the facial features, particularly the bridge of the nose and the brow. The composition is intimate, stripping away extraneous detail to focus entirely on the subject's gaze. The inscription at the top, identifying the sitter, provides a clear provenance for the piece, which is now held in the collection of the Rijksmuseum.

The use of blue paper was a deliberate choice, providing a cool, atmospheric base that harmonises with the monochromatic chalks. This method allows for a subtle transition between light and dark, giving the portrait a three-dimensional quality despite the economy of the medium. The artist's gaze, directed slightly upwards, suggests a moment of quiet reflection or perhaps a study of his own reflection in a mirror. This drawing offers a glimpse into the domestic and artistic environment of a Dutch family during the mid-seventeenth century, where drawing was a fundamental skill practised by all.