About the artwork

This meticulous copy of the original French masterpiece hanging in the Louvre Museum in Paris was done as part of an American group of classically-trained artists led by my husband, acclaimed classical portrait artist, Frank Covino. ( The entire trip was profiled in The Artist's Magazine.)  We challenged ourselves to perfectly copy two Old Masters. I selected Pierre Subleyras and Anthony Van Dyck.  The complex process of duplicating Old Master methods requires patience and technical exactitude, as there are many stages, unlike the more familiar modern method of alla prima painting.

            The first step was the preparation of a traditional linen-wrapped wood panel, including marble dust in the gesso to ensure "tooth",( ie adhesion of the paint layers) . Next came the detailed charcoal value sketch, and finally the oil  verdaccio ( "grey-green")  underpainting.  This preparatory work took several months to complete.

            At that point and at long last, our group was given permission by the French authorities to complete our lovely oil color overpaintings on the actual floor of the Louvre, under the watchful eye of machine-gun armed guards!  ( Very daunting..I was terrified of spilling a drop of paint on the floor! )

           We spent two weeks in Paris, and it was absolutely the most exhilarating and exhausting process, but ultimately the most gratifying experience imaginable. Only upon successful completion did my painting receive the official quality seal of approval on the reverse side by the Louvre Museum Director of Copyistes.

          All materials used are of the highest archival museum quality...from the traditional Renaissance formulas used for the gesso, to the oil painting medium.  All was done on a sturdy Belgian-linen wrapped wood support, ensuring the longevity of the artwork. The results are worth the effort. It is an investment in quality. The artwork will delight the eye for centuries!