My next copy, "Pierre Louis Alexandre" by Karin Bergöö Larsson

I just got permission for the next painting I'm going to copy at the National Gallery of Art. It's titled, "Pierre Louis Alexandre", and it was painted by Karin Bergöö Larsson. Here is the text from the painting's label:

"Having escaped a French colony in Latin America, Pierre Alexandre fled to Sweden. He worked in the harbors and, when the docks froze over in the winter, modeled at the art academy. Alexandre may have been the only Black person many of the art students knew. They often used costumes and props to cast him in exotic poses.
But in this portrait, young Karin Bergöö, one of the few women students at the academy, captures Alexandre’s individuality. Because he is close to the picture plane, he feels physically present, even if his far-off gaze suggests his mind is elsewhere."

I'm a little scared to tackle this, because I don't practice portraiture very much, but the figure has long been one of my concentrations. I don't get to work from a model very often, so I'm going to treat this copy as if I was working directly from the model. It will be interesting to see if I can maintain the spirit of working from a live model and still be accurate in copying this painting.

"Pierre Louis Alexandre" by Karin Bergöö Larsson

See the painting on the National Gallery's website

Day 3 and Final, copy after "Place du Carrousel, Paris" by Camille Pissarro

I went to the National Gallery today determined to be finished with this copy, even if it wasn't "done", because I just wasn't feeling it. But I went at it with a good amount of paint, and ended up actually finishing it, in the sense that there isn't anything else I want to do to it. I ended up having a good time making marks like Pissarro's, copying his "handwriting" of scribbly brush strokes.

I think today I had the most people coming up to me and making positive remarks than just about any other copy I've done, and I've done a LOT of copies. It felt very affirming and uplifting, to have so many lovely people wanting to chat with me and being thrilled with my copy. Can't say I really understand why, because I don't think it's all that brilliant, but it was very nice!

I turned in my permit for this one, and spent some time wandering around the museum searching for the next painting I want to copy. I sent my three choices to the Registrar's office, and she will let me know which one is available. Then I'll stretch a new canvas, getting as close to the proportions of the original as possible and staying at least 2" smaller or larger, as the rules require. I hope I get my first choice! Stay tuned.

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