Welcome to another edition of the Sight and Insight Podcast. This week, our intrepid trio, David, Connie and Judy, willbe discussing the weighty topic of copying from the masters.
Is it sneaky, as some people think, or cheating; or is it an age old method of learning to paint better by studying closely, and emulating the work of, old masters who have stood the test of time?
During today's episode, Connie relates the tale of how she finally managed to get access to the Museum of Fine Arts in Boston to copy Monet's...
Welcome to another edition of the Sight and Insight Podcast. This week, our intrepid trio, David, Connie and Judy, willbe discussing the weighty topic of copying from the masters.
Is it sneaky, as some people think, or cheating; or is it an age old method of learning to paint better by studying closely, and emulating the work of, old masters who have stood the test of time?
During today's episode, Connie relates the tale of how she finally managed to get access to the Museum of Fine Arts in Boston to copy Monet's Grand Canal. This is her version below. She also made a copy of Antonio Cirino's Peonies from the Rockport Art Association and Museum's Copying the Masters Workshop earlier this year.
As Connie says, it is important to see how a past master has designed and created their work of art, especially their color tones and brushwork. Studying these elements can only make your own work better.
While on his Paige Traveling Scholarship in Europe, in 1913, A. T. Hibbard - as a graduate art student from the School of the Museum of Fine Arts, Boston, was admitted to the Museo del Parado in Madrid to copy from Velazquez, including Las Hilanderas (The Weavers) below.
Of course, the criteria for copying another's creation is that it should not be sight size. In Hibbard's case, he did a large painting of the lower right hand side of the painting. Hibbard's version is now a part of the RAA&M's Permanent Collection.
There are many reasons for practicing copying from the masters, not least of which is improving your own art. David teaches an annual workshop at the RAA&M, so if you want to try improving your art by this method, keep checking David's website at davidpcurtis.com for more details.
In the meantime, if you would like to view Connie and David's upcoming exhibition, Three With a Brush, with their painting friend, Tom Heinsohn, check out the invitation below. Or view Connie's website at lorwenpaintings.com for further details.
And don't forget, David and Connie are teaching a Sight and Insight workshop, October Skies, October 10-12, 2018.
Want to know how to paint better skies with movement and drama? Then check David and Connie's websites for further information on how to sign up. Still a few places available. Don't lose out!
And, last but not least, if you have enjoyed this podcast, don't forget to hit the red follow button, so you don't miss out on another episode.
Have a great week!
Connie, David and Judy
PS. Next week we will be talking about the current Don Stone: Coming Home Exhibition at the North Shore Arts Association, 11 Pirates Lane, Gloucester, MA 01930 Ph. 978.283.1857 or email: arts@nsarts.org
This is a great exhibition containing over 100 paintings. Judy will also be giving a presentation on Don Stone and his work on Sunday, September 30 at 2 pm. Come along and join the fun.
