Old Master Replicas
Primarily painted in pursuit of mastery, these works are ultimately purchased, usually by visiting patrons to my studio. Occasionally, I agree to a commission but as the portfolio of replicas is a deeply personal and curatorial journey, commissions tend to be unique works that have special resonance for both patron and painter.
I see myself as a craftsman in the service of a great tradition and part of the lineage of the Old Masters. This is in no way meant to compare myself to their achievements, but the inspiration provided by their capability, work ethic, entrepreneurship and technical brilliance can be summed up in the word mastery. Replicating their work induces a conversation with history on a deeply personal level. There is something intimate about the almost forensic study of technique and material when followed by the attempt to replicate it. It is simply not possible to do without deeply understanding their motivations and the constraints they work under. The act of replication always leaves me with a profound sense of their drive and work ethic, and of course, one step closer to mastery of my vocation.
The contrast with the contemporary art scene, in which I lived and worked for a decade in New York, could not be greater. The dedication of the Old Masters to perfection of their craft stands as a rebuke to the contemporary obsession with the novel and sensationalism, driven by the egotistical focus on the self as genius. The life of a contemporary artist is exhausting for artist and patron alike because constant conversation is required to justify the art. We know the Old Masters transcended this because their work is quietly admired by those who never knew them, long after they have passed. Their work tells us something of their capability but we are also aware that the painting was for a patron and the subject was their focus. Replicating their work draws me back into their world that requires focus, attention, sympathy and above all time and hard work.
This is one of my favorite subjects and I welcome any interesting projects and will always conduct a bit of research for those that share my passion.
My Old Master Replica Paintings
Arnolfini Portrait, Jan Van Eyck
This is the first Old Master painting I have copied since high school. Copious amounts have been written about this painting. It is seen as one of the most significant pieces in the western canon, but what attracted me to replicating it was not the historical importance, but the technical and compositional components of the piece. The painting is so dynamic and strange optically, like a figurative Bridget Riley painting. I wanted to figure out the workings of these special effects. Moreover, this painting is so technically adroit and painstaking, that I wanted to see if I could do a faithful recreation of it. It was a great challenge, but I learned a lot in the process.
Portrait of a Man with a Blue Chaperon, Jan Van Eyck
This is another Van Eyck painting that I copied for the challenge, and because I love the painting. This is a very small portrait (8.9” × 6.5”), depicted in exacting detail. This is the kind of meticulous painting Van Eyke is famous for, and what drew me to it.
Virgin and Child with a pear, Albrecht Dürer
Albrecht Dürer might be best known for his black and white engravings. But this painting has a gorgeous implementation of color. The employment of glazing (the use of thin translucent layers of paint) in this painting is nothing short of virtuosic. I wanted to see if I could approximate the same effect.
Portrait of Cardinal Niccolò Albergati, Jan Van Eyck
This Jan Van Eyck painting is slightly larger than the Man with a Blue Chaperon, but is still quite small. Like all of his work it is meticulously painted. But another element also draws me to portraits of the Northern Renaissance, and that is their humanness. These charrators could be sitting next to you on the bus. There is so much personality in these portraits which is something that attracts me, and that I want to emulate in my own work.
Ginevra de' Benci,Leonardo Da Vinci
Nobody paints like Leonardo, I did a copy of this painting firstly because I was asked to by a friend. But besides this, the subject possesses the mysteriousness that can be found in all of Leonardo’s portraits. He imbues a kind of intrigue in these paintings which never fails to fascinate me. Technically, his use of sfumato presented a learning experience for me. Doing a copy of this painting did something that seems impossible, it humanized the genius.
Portrait of a Lady with a Squirrel and a Starling, Hans Holbein
Holbein is among the greatest portraitists of all time. This painting is a good example of his ability to integrate an interesting composition, and compelling subject into one cohesive painting. He never treats what surrounds the figure as unimportant.
The Ugly Duchess - Quentin Matsys
While this painting is executed with all the rigor that you would expect from a Flemish Renaissance painting, what drew me to copy it was not the technical acumen. I have long been fascinated with the grotesque. So much so that I wrote my master's thesis on blood splatter in horror movies. It is remarkable how this painting can be gross, funny, and beautiful all at the same time. I try to imbue my portraits with personality and spirit related in the expressions of the face. In this painting, extreme physiognomy is the star of the show.