The Storm on the Sea of Galilee

Replica of Rembrandt’s The Storm on the Sea of Galilee from 17th century 2011, Oil on canvas, 60x80 cm

Christ and St Mary Magdalene at the Tomb

Replica of Rembrandt’s Christ and St Mary Magdalene at the Tomb from 17th century 2011, Oil on canvas, 60x70 cm

Ascension

Replica of Rembrandt’s Ascension from 17th century 2011, Oil on canvas, 60x80 cm

Mona Lisa

Replica of Leonardo’s Mona Lisa from 16th century 2007, Oil on wood, 53x77 cm

Icon Skopiotisa

Replica of the icon Skopiotisa from the 18th century, 2008, Egg tempera on wood - pastiglie technique with silver leafs, 37x49 cm

Old Man in Military Costume

Replica of Rembrandt’s Old Man in Military Costume 2003, Oil on canvas, 60x70 cm

Virgin and Child with St. Anne

Replica of Leonardo’s the Virgin and Child with St. Anne 2009, Oil on wood, 111x148 cm

Replicas

THE MAKING OF ART REPLICAS

Over the past decade I have been studying and researching the technology of old masters paintings. I have also been applying that knowledge in the preparation of replicas. I usually copy the available artwork “in situ”; while looking at the original, or I copy from photographs and posters of very high resolution that are taken from the parent museum or from the database of art galleries on the Internet.

The process of making replica starts with analyses of the preparation of the original support base and the texture of the surface. I analyze the structure and methods of applying the prime coats, subsequent layers of paint and the structure of the brush strokes. After that I examine whether the artist applied the underpainting and how it affects the luminescence. Each surface on which I paint is prepared individually based on historical methods and according to the texture and structure of the original. I apply extremely smooth gesso, which is particularly good when imitating works painted on wood, or a thin ground with visible texture of the canvas.

It is relevant to follow the same painting procedure as the original painter. First step is to draw the preparatory sketch with all necessary details. Next step is to apply underpainting that forms an initial layer of paint and serves as a base for the subsequent layers. It is often monochromatic and it helps to define color values for latter painting. I use several different types of underpainting, such as verdaccio and grisaille. New paint layers are usually applied as transparent coats, in order to bring out the hue of the paint in the layer immediately beneath. This is crucial for obtaining all the hues of the original paint layer.

Every painting demands an individual approach in copying. The most complicated pieces often present a real challenge, especially when it comes to the indistinguishable color patterns of impressionists or extremely delicate sfumato technique. The most important thing is that the finished copy evokes exactly the same feelings as the original masterpiece. Then I have succeeded.

Leonardo da Vinci:	Rembrandt van Rijn:	Icons:	Drawings:	Impressionists:

Replicas

Each painting demands an individual approach in copying. The most complicated pieces often present a real challenge, especially when it comes to the indistinguishable color patterns of impressionists or extremely delicate sfumato technique. The most important thing is that the finished copy evokes exactly the same feelings as the original masterpiece. Then I have succeeded. [Continue...]

Retouching work

Retouch is limited to areas where the original form of the painting is damaged. Retouch imitates the original painters technique in the structure of a brush stroke as well as in the applied tone scale. This allows that preserved parts of the painting overcome in the visual experience of the observer. [Continue...]

Events

In November 2011. I was a participant in a very interesting restoration workshop on retouching and filling materials for paintings. This three-day workshop was held at the Museu Nacional de Soares dos Reis in Porto, Portugal. It was organized by Portuguese conservation studio 20 | 21 Conservação e Restauro. [Continue...]