The Sincerest Form Of Flattery: Copies Of Iconic Masterpiece


The Sincerest Form of Flattery: Copies of Iconic Masterpiece

Much in the strain of Eliot’s Tradition and Individuality, any masterpiece of creativity must draw inspiration from old masters and integrate it with one’s imagination. This faculty of drawing inspiration was the principal objective of the artists of the early modern period. In the 19th and 20th centuries, formal art training included copying the techniques of the renaissance and the baroque artists.

Instead, they’re a vehicle for the new artists to explore and master their color composition, techniques, and strokes through emulating the original paintings. 

Masterpieces Of Leonardo The Vinci

MonaLisa is considered the painting which has been subjected to emulation the most. So, Vinci’s masterpiece, painted on poplar canvas, was created towards the epilogue of his artistic oeuvre.

The one in Sotheby has vestigial columns that are missing in the original piece. Some of the later copyist’s attempted to fill the gaps by adding columns, but they have all failed subsequently.

The Sincerest Form Of Flattery: Copies Of Iconic Masterpiece
The Sincerest Form Of Flattery: Copies Of Iconic Masterpiece

Saint Jerome of Vinci is the only painting which has been successfully and entirely replicated by the scholars. Stylistically the work depicts Milanese and Florentine traits. More work’s visual effect is preserving in painted and printed versions. However, the authentic painting adorns the wall of the Vatican museum in Rome.

After Hieronymous Bosch’s Masterpiece

However, the gardens of earthly delights originally occupying a remarkable place in the Museo del Prado, Madrid. So, this impressive triptych echoes and protects the tremendous visual impact of bosch’s masterpiece.

Michael Sweerts

However, the plagues in an ancient city by Michael Sweerts resonates in the tradition of Nicolas Poussin. The copy occupies a glorious place in the Los Angeles Museum. Therefore, this was the last painting of the maestro made in Rome, where he was working from1646 until about 1654-1655. The canvas depicted here shows the precision of the scholar in enacting Sweerts techniques and strokes. 

Circle of Antonio Allegri Called Correggio

However, the Madonna and the child are a direct copy of La Zingarella by Correggio. The original piece resides in Museo di Capodimonte, Naples. Madonna’s headdress resembles the ones of the gypsies, and this became the inspiration behind the name. Moreover, this painting brings forth the lost elements of the original one, which was eradicated during a cleaning process. Namely the rabbit, the foliage, and the palm leaves.

Diego De Silva y Velázquez

The mythological painting of Velazquez employs a male nude color palette. However, the central figure keeps its gaze on the viewer, personalizing the psyche of the said viewer.

From Caravaggio’s Masterpiece Head Of Medusa

Hence, emulating the technicality of Caravaggio is no mean feat! This piece called Medusa with its bright green background, and the convex, circular shape achieves precisely that. However, the silent scream distinctive of the original article makes a replica in this creation. Created by an anonymous nineteenth-century artist, this piece captures the flavor of the original.

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The Sincerest Form Of Flattery: Copies Of Iconic Masterpiece
The Sincerest Form Of Flattery: Copies Of Iconic Masterpiece

However, antiquities bring an uncanny aesthetic in any creation, may it be painting or writing. This 6pcs Chinese calligraphy pencil made of wolf and sheep’s hair adds a thrill for writers like me, who prefer pencils and pen over the plastic keys.

Hence, art enthusiasts know the actual value of its creation based on the artist’s oeuvre, therefore, the periods’ niche’s, and history’s significance upon the piece.

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