This portrait advances a chromatic realism grounded in classical craft. Flesh is modeled with pearly half-tones and orchestrated edges—forms dissolve and reappear in the Sargent manner—while saturated warms/cools (coral/teal) take up the colorito mantle from the Venetian–Baroque line. The close crop and charged mouth deliver a Caravaggist focal intensity; the loaded, tactile paint there suggests Rembrandt. Sun-struck temperature shifts evoke Sorolla; economy of stroke hints at Zorn. Among contemporaries, the work sits near Malcolm T. Liepke and Nick Alm for teal shadows, carmine lips, and cool/warm architecture, with the anatomical conviction found in Jenny Saville and Alyssa Monks. Painted at the outset of the Bali chapter, it reads as a self-announcement: technique in service of presence.