copying at the National Gallery: Day 3 and Final, copy after "Place du Carrousel, Paris" by Camille Pissarro

January 22, 2026

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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copying at the National Gallery

A friend turned me on to the Copyist Program at the National Gallery of Art in Washington D.C. in the fall of 2000. Since I live in Northern Virginia, it is pretty convenient (about 45 minutes travel time) to get there. I called the Registrar of the museum to say I was interested in becoming a copyist, and she said she would mail me a packet of information and requirements. I received the packet in the next day's mail! I read through all the rules and regulations of being a copyist, and saw that I would need to come up with four letters of recommendation: two from people who knew me as an artist, and two character references. I immediately contacted four people who could serve as references, and asked them to mail in letters for me. I was also required to write my own letter, stating why I was interested in the copyist program. Finally, I had an interview with the Registrar and showed her two of my paintings. I was accepted into the program that day, and within a month of that first phone call, I was standing in the National Gallery copying my first painting.

Copyists are given a locker in a locked room in the museum. I keep my current painting there, in the painting rack. I have to ask a guard to unlock the copyists' room whenever I want to access my locker. The museum provides a large easel, stool, and dropcloth, which are in position in the gallery I am copying in. A permit must be obtained for each painting I copy, and I'm only allowed to work on one at a time. I have to have my permit on me or with the painting all the time, and show it to the guards on request. Only one copyist is allowed in a room on a given day, and some of the rooms are off limits because they are too small. Only works in the West Building are available for copying. There are other restrictions, such as not being able to sell your copy while on National Gallery property, and having to size your copy at least two inches smaller or larger than the original.

copying at the National Gallery

January 22, 2026

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

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copying at the National Gallery

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