Detlev Blunck depicts himself here like Albrecht Dürer in his famous Self-portrait in a fur coat from 1500. This analogy is set in the context of the 19th century's veneration of Dürer. Both portraits are characterised by frontality, axial symmetry and a neutral background - an iconic staging that was reserved for depictions of Christ. Blunck's hair, severely parted in the centre, falls shoulder-length onto the black coat, with the white scarf with embroidered crosses standing out in contrast. It is reminiscent of a ‘Beffchen’, the collar of Protestant priests gown.