Here are three examples of copies I did these last years and exhibited on my booth at Maison & Objet.
Being self-taught, copying is the way I learned and still learn. I have to find out things by myself , which takes effort and time but I have the privilege of learning from amazing models. It is a very humbling , and sometimes painful process but it is also a source of joy. I hope these pictures show all this.
"La Tempête " 150x84cm Casein on canvas , after Piero da Cortona ( one of the figures of the famous ceiling of Palazzo Barberini in Rome)
"Mere et Enfant" 150x50cm , casein on canvas , after Veronese ( figure located to the extreme left of "Le repas chez Simon" in Versailles).
"Le repas chez Simon"
"La Coquette" 80x50cm , casein on canvas , after Giandomenico Tiepolo.
Tintoretto won a commission over Veronese by promising that he could paint "in the manner of Veronese, so that it would be thought to be by his hand." Both artists painted their version of Saint Anthony, and both paintings still survive.RépondreSupprimer
We can understand that copying other masters has been considered a valid learning tool For many years.
Not only that; my guess is that there was also a question of money: Tintoretto basically under-cutting his old rival.
It seems some things will always be the same! :)
I guess my point is that besides copying other contemporary's paintings as a personal learning tool, the Old Masters also copied for financial reward.
Hearing stories like that just confirms to me that we are part of a continuum. My High School art teacher always frowned on imitation. He was I guess of that new school where it has to be 'originality at all costs'.
A lot of the time, the cost of originality seems to be quality, from what I can see. Like you, I've also found that there's lots to learn by copying.
The textures of your canvases always interest me. Some have wrinkled texture and others cracked gesso and now I see what appears to be the linen weave being prominent. Very interesting Pascal!RépondreSupprimer