Abstract
The author analyses Kharms's 1937 “Self-portrait at the Window”. It is demonstrated by adducing the writer's notes on Flemish painters that Jan van Eyck's, and other fifteenth-century masters', innovative work served as point of orientation for Kharms's drawing. In the second part of the paper Kharms's pseudonyms are discussed and linked with the Kabbala, the Jewish mystical and Biblical tradition.
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