 The painting is composed in monochrome , muted colours ; predominately blacks , greys and browns . The exceptions are the whites of his collar and sleeves , the reds in the cushion and the light reflecting on the leather of the arm @-@ chair . In 19th @-@ century art , vivid colour was associated with femininity and emotion ; male portraiture tended towards muted shades and monochrome . Bertin leans slightly forward , boldly staring at the viewer in a manner that is both imposing and paternal . He seems engaged , and poised to speak , his body fully towards the viewer and his expression etched with certainty . Influenced by Nicolas Poussin 's 1650 Self @-@ Portrait with Allegory of Painting , Ingres minutely details the veins and wrinkles of his face . Bertin is in three @-@ quarter profile , against a gold – brown background lit from the right . He rests on a curved @-@ back mahogany chair , the arms of which reflect light falling from the upper left of the pictorial space . 
 The painting is composed in monochrome , muted colours ; predominately blacks , greys and browns . The exceptions <a href='drop_aux' title='1'><mark>are</mark></a>the whites of his collar and sleeves , the reds in the cushion and the light reflecting on the leather of the arm @-@ chair . In 19th @-@ century art , vivid colour was associated with femininity and emotion ; male portraiture tended towards muted shades and monochrome . Bertin leans slightly forward , boldly staring at the viewer in a manner <a href='null_relcl' title='2'><mark>that</mark></a>is both imposing and paternal . He <a href='uninflect' title='3'><mark>seems</mark></a> engaged , and poised to speak , his body fully towards the viewer and his expression etched with certainty . Influenced by Nicolas Poussin <a href='null_genetive' title='4'><mark>'s</mark></a>1650 Self @-@ Portrait with Allegory of Painting , Ingres minutely <a href='uninflect' title='5'><mark>details</mark></a> the veins and wrinkles of his face . Bertin is in three @-@ quarter profile , against a gold – brown background lit from the right . He <a href='uninflect' title='6'><mark>rests</mark></a> on a curved @-@ back mahogany chair , the arms of which reflect light falling from the upper left of the pictorial space . 
Da painting is composed in monochrome , muted colours ; predominately blacks , greys and browns . The exceptions tdawhites of his collar and sleeves , thdaeds in the cushion and the light reflecting on thedaather of the da @-@ chair . In 19th @-@ century art , vivid colour was associated with femininity and emotion ; male portraiture tended towards muted shades and monochrome . Bertin leans slightly forward , boldly staring at the vdaer in a manner is both imposing and paternal . He seem engaged , and poised to speak , his body fully towards the viewer and his expression etched wit certainty . Influenced by Nicolas Poussin  1650 Self @-@ Portrait with Allegory of Painting , Ingres minutely detail the veins and wrinkles of his face . Bertin is in three @-@ quarter profile , against a gold – brown background lit from the rida . He rest on a curved @-@ back mahogany chair , the arms of which reflect light falling from the uppdaleft of the pictorial space .