Roverto mARQUEZ
Double self Portrait, Egon Shiele, 1915
“By reversing the color in the protagonists of the very familiar Manet painting, I wanted to tease the memory of the viewer and at the same time create a commentary on race and the roll it has played in art.”
Phil Coleman
Phil Coleman
Is This a Bloody Joke or what?
:32 x 32inches £5,000
Roberto Marquez
Black Olympia 12 x 26 inches Oil on canvas £2,000
For me a big part of the mystery, intrigue and genius of Rembrandt’s ‘Self Portrait with Beret and Turned-Up Collar 1659’ lies in the unknown facts regarding the materials that he used, where the artist got them from and exactly how they were applied to his canvasses. Everything else about Rembrandt’s existence seems to be recorded, particularly his association with fame, fortune, widowhood, and also bankruptcy that was registered just 3 years before my chosen painting was completed. Prior to beginning the portrait I researched this topic as much as possible and came up with the common materials that Rembrandt used, to add texture and impact to his portrait work. I decided to paint Lord Alan Sugar in the piece at quite a late stage as we approached the exhibition, after watching a documentary on TV. I had spotted numerous similarities in both the physical appearance between Lord Sugar and Rembrandt in the original Self Portrait and also within the content of the humble roots and ‘rags to riches’ story of both the artist and the businessman. Very soon after receiving consent from Lord Sugar to paint his portrait, my canvas and initial monochrome outlines were being covered with White Lead, Beeswax, Oils from Linseed and Almond, and modern artist pastes. My painting is a token to acknowledge and show gratitude for what this great master painter achieved in his lifetime, with a sincere show of respect for what another living being will no doubt go down in history books for accomplishing in a very different world.
Self Portrai with Beret and turned up collar by Rembrandt. 1659