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    Open a larger version of the following image in a popup: Boyan, The man who wasn't there, 2006
    Open a larger version of the following image in a popup: Boyan, The man who wasn't there, 2006
    Open a larger version of the following image in a popup: Boyan, The man who wasn't there, 2006
    Open a larger version of the following image in a popup: Boyan, The man who wasn't there, 2006
    Open a larger version of the following image in a popup: Boyan, The man who wasn't there, 2006
    Open a larger version of the following image in a popup: Boyan, The man who wasn't there, 2006
    Open a larger version of the following image in a popup: Boyan, The man who wasn't there, 2006
    Open a larger version of the following image in a popup: Boyan, The man who wasn't there, 2006

    Boyan Vidin, Bulgaria, b. 1975

    The man who wasn't there, 2006
    Oil on canvas
    180 x 145 x 3 cm
    70 7/8 x 57 1/8 x 1 1/8 in
    © 2006 Boyan / Courtesy Fundación AMMA
    Photo: Alejandro Paez

    Further images

    • (View a larger image of thumbnail 1 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 2 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 3 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 4 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 5 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 6 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 7 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 8 ) Zhengjie Feng, China 2005 Num. 24, 2005
    View on a wall
    Read more
    In a comfortable interior, a man sits smoking in front of a burning fireplace. Other signs of affluence include the large curtains, the plush rug (painted with the greatest detail in the entire painting), and his elegant casual attire. Despite the air of prosperity, the man’s expression is pensive and tense.
    Boyan typically focuses on oil portraits, often based on found photographs. His paintings have sometimes been compared to fortune-telling cards because of the somewhat symbolic atmosphere they convey. His subjects are distinguished by an unwavering dignity, regardless of their circumstances.
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