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MarcoLM T. LTEPKE Ageless and universal qualities alcolmT. Liepket figures could have appeared

in

the Vienna

Secessi'on

of the late 196 century-in Belle Epoque-farther back

in

suggest

of

Sargent sometimes resulted

in

both resignation (her right arm hanging

efforr)esrly ar her side) and cautious protection (her 1eft hand grasping the edge ofher shawl) as

McNeill'Vhistler, and Iidouard Vuillard. The seemingly eflortless spontaneity

the

Pre-Raphaelite

England-or at almost any time in

Edgar Degas, Toulouse-Lautrec, Vel{zquez, James

she gazes at her viewers

passionless

with caution.

tW/hatever

human

portraits, subjects caught in their time. Veldzquez,

her actual emotion, Liepke has created an image

history. Inspired by artists of the past, Liepke has discovered ageless and universal human qualities in his contemporary subjects. "\7e all share the same human experiences," he says. "The emotional quality you get from looking at someonet face is what inspires my work." Liepke left art school after a year and a half

howeve! captured the essence of his subjects,

that

creating psychological studies that transcend time.

levels, especially recognition and empathy.

Liepke combines both looseness oftechnique and

Oscar'Wilde wrote, "Every portrait that is painted with feeling is a portrait of the artist, not ofthe sitter." G

of the

and began studying the work of great artists of the past: ]ohn Singer Sargent, some

Rronsao LoNc Harn, oIL oN

cANvAs, 14x 9"

depth of emotion in a direct manner.

His recent painting, Gold in Her Hair, for instance, recails the haiisn'le of a Veldzquez infanta or, perhaps, a denizen of one of Charles Rennie Mackintosht Glasgorv tearooms. Her outfit is not obviously of anv time. Her gestures

MvsrreuB, oIL oN cANvAs,

engages

the viewer at several emotional

a ditect linh to the exbibiting gallerl

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x 26"

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Malcolm Liepke - American Art Collector - March 2013  
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