• Upcoming trips

    May 2 to May 14 London vacation. We will be staying in the President Hotel, 56 - 60 Guildford Street, Russell Square, London, WC1N 1DB. Telephone : 020 7388 4443. Hope to see you all then.
  • theatre and Concerrts

    February 20. At Christine’s prompting, and, offer to go to the box office for Family Circle tickets, we went to see the Met’s production of Parsifal–from 6.00 to 11.30! It is a modern production for the new generation of opera-goers (the ones that hoot and holler at slightest excuse to the detriment of all others’ listening concentration). Modern dress  clashes horribly with the ancient myth of the story line, and state-of-the art lighting and staging effects  enlighten and intrigue the semi gloom in which the action(?) of  all three acts take  place. I was pleasantly impressed with the singing cast and  thought that it compared favorably with the greats of my younger days.

    The new conductor was enthusiastically welcomed (The Levine era is now forgotten completely) but I thought the sound he produced from the orchestra did not quite evoke the agonizing pathos that I remembered.

    February 21.  Saw “Amy and the Orphans” at The Roundabout Theatre. It is a story of parents’  tussle with the agony of caring for a child with Down syndrome and the adult siblings’ efforts to atone for their parents’ weakness. Wonderfully convincing acting all round and written with great humour to counter the guilt dialalogue of the characters.

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National Academy Talks

Eric March, artist and teacher gave a short, but very interesting talk on the art of copying old masters, at The National Academy. I hadn’t realised  that it was such wide topic of interest. As well as the art community, people like the FBI, Interpol and insurance companies are vitally concerned with the subject. I learned that the International Foundation for Art Research keeps an Art Loss Register, and that a copy made of the artist’s own work is called a replica; a copy made by someone other that the original artist is called a copy; but if a copy is represented as the original it is called a fake!

The speaker illustrated his talk with slides of master drawings and some of his own magnificent copies. He told us that the old masters  themselves, often copied their own or other’s work. I was gratified to hear him say that when copying,  the copyist must deduce the mass of problem-solving decisions that the original artist made in order to produce his work. I have long advocated to my senior friends that taking up art or serious craft, exercises the mind like no other activity because of the problem solving involved. Especially, I think, in watercolour painting

Eric March teaches a class devoted to copying master works, often in the Metropolitan galleries. His own work may be seen on his web page: ericmarch.com.

Eric March discussing one of his copies with an attendee

Eric March's copy of Velazquez' 'Juan-de-Pareja'

Eric March's copy of a Ruben's work


2 Responses

  1. The subject reminds me of Robertson Davies novel “Whats Bred in the Bone.” He goes on at length about recreating or creating a fake to fool the Germans. These a beautiful copies.

    • I was not aware of Robinson Davies work–I’ll look him up. I vaguely remember big scandals involving fake paintings during my lifetime; the biggest, I think, occurred some 40 years ago which concerned a faker of Vermeers whose work was so accurate that many grand museums bought his paintings as originals even thought some of the subjects were not known to have existed before. Do you remember the case? Ben and Ethel

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