"Guarding rococo" is a painting I just finished. By placing a painting by Vigee LeBrun behind a formidable nude figure, I not only reference the strength of today's women that seems in contrast to the delicacy, frailness, and decorative concerns of the past, but suggest these seemingly inherent feminine qualities are worth protecting.

ReConfiguring a Copy-Autumn Page Two

Reconfiguring a copy Page 2

July 16, 2011

The first day I sketched out the two major compositional elements. These are circled on the original below. As I’ve stated earlier, I use thinned oil paint for sketching. A close up of the first session developing the copy reveals my sketching method and how I reconfigure the major elements of the work.

                                                 Original                                                           

         

                                                     Copy 6/13/11

At this time I realize the painting is progressing faster than I can post a running dialog. I have started a “History of a Copy” on my web site where I will show visual progress of the work and add comments as I can. This will free this blog for other things.

Copyist World-A Rediscovery

"Copyist World" (unfinished), Oil on canvas, 36" x 24"

"Pasta"1971 Oil on canvas, 59"x78"

I guess I have always been a surrealist at heart. Recently I have discovered that I have a source of ideas that have been festering in my brain for a number of years. From the earlier collage paintings that I started while in Graduate School, I have often incorporated Renascence or Baroque art into my work. My work 'Pasta' was a classic example of this.

"Chapel of the Holy Spirit" Oil on hardboard, 24"x 18"

In my series at the Franciscan Monastery Series I populated the interior of the church with figures drawn from sculpture of religious figures from the walls to populate the floor of the church. In the "Chapel of the Holy Spirit" I brought Christ and his Disciples to the alter of the Church and St. Francis and his flock to the floor of the church.

I titled my latest surrealistic painting "Copyist World" because it is a place, The National Gallery of Art, where I have been copying Master works by Renaissance artists for over 22 years.
I am hoping that this is the first of a series. At least I am excited.

Working on the reconfigured copy

Sometimes gallery visitors take my picture while working on a copy. I thought this was rather unique. Notice the use of the maul stick. The tip should have a protective soft ball so as not to scratch the painting. I'm a rather crude artist and feel I can always correct any damage to the painting.

This is a recent shot of the painting. Each day I concentrate on a section of the work. All of the elements are roughly blocked in. The problem now is to refine the images. I will probably return to many of the images several times to achieve as close a likeness as possible.

A short video of my studio class

http://riverdalepark.patch.com/articles/video-riverdale-artist-shares-craft-with-students#video-7323840

Reconfiguring a copy Page 2

July 16, 2011

The first day I sketched out the two major compositional elements. These are circled on the original below. As I’ve stated earlier, I use thinned oil paint for sketching. A close up of the first session developing the copy reveals my sketching method and how I reconfigure the major elements of the work. 

                                                         Original

             Copy May 14, 2011

          

At this time I realize the painting is progressing faster than I can post a running dialog. I have started a “History of a Copy” on my web site where I will show visual progress of the work and add comments as I can. This will free this blog for other things.

ReConfiguring a Copy

                                           “Autumn” c. 1740/1766, by Corrado Giaquinto  42 11/16” x 59 5/8”

“What are you doing?” ask a lady who was watching me paint. I was in the early stages of copying a painting by Corrado Gioquinto at the National Gallery of Art. Normally I understand such a question. I usually start by sketching on the canvas with thinned oil paint. Since a copy must not be the same size as the original, it is necessary for the artist to rescale everything for the copy. The first session it is easy to change contours or get lighter areas by wiping away the thinned paint. After this, alterations are made by adding white or other opacifier to the thinned paint. Naturally, during this time the work may look a little odd to an uninitiated viewer, but recognizable features usually cause them to sympathize with the struggling artist and hold off on questions that may be embarrassing

My method of starting a copy varies, but long ago I gave up using a grid or working with pencil, ruler and charcoal. My purpose in copying is primarily to learn or develop skills and techniques used by the great artists of the past. Scaling forms to a space is critical to an artist who wishes to go beyond the sketch or design. I have always exercised this visual acuity believing practice improves ones ability to perform. After copying over 30 works using my eye instead of a grid or projection, I feel the practice of scaling has been invaluable in ordering my own compositions.

The confusion over this copy is likely to be greater because I have chosen to reconfigure or recompose the painting. I seldom do this because I do not want to suggest that I can improve upon a proven master artist. My primary reason for reordering this composition is to give the beautifully painted figures or figure groups more prominence. Gioquinto’s composition stresses movement and a busy staccato like imaging. To me the effect is of rustling autumn leaves, and the figures are mere props to convey a human presence. Were I to copy the work as it is, the smaller scale would make the figures even more incidental.

At this point, I’m not sure my copy will add a better understanding of the original, but it will cause viewers to look more carefully and critically.

A check on my web site will show that I am already almost 20 hours into this project. I am slower at writing than painting. Future posts will follow the sequence of work from the beginning.