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Why copy another artist's work? It's a question I've heard a lot of times, and in fact is something I wondered myself when I first looked into taking an art workshop and learned we would be working on reproductions only. In fact, the teacher insisted no one could work on an original piece until they'd completed a satisfactory number of copies under his instruction. I've since learned there is indeed great value in completed reproductions, both in developing useful skills and in developing a deeper appreciation for the work of the great master artists of the past.

Read more in my look at Why Reproducing Art is an Important Learning Tool for Artists.
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My latest finished painting - a reproduction of Titian's "Venus Anadyomene"



If you'd like to read about the techniques and see a step-by-step how-to on this painting, check out my article "Using Grisaille and Glazing Techniques to Reproduce an Old Master Painting." (Note: There is an adult content splash page in place because it's well, nude art. Don't get me started on that, but still...)
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I'm often asked for more information on the underpainting technique I use in my artwork. Here is a brief introduction to the history of verdaccio and how to use it in modern oil painting.



Read more: "What is Verdaccio and How To Use It In Your Paintings."
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Here's a step-by-step tutorial on how I created a reproduction of Titian's "Portrait of a Man in a Red Cap."



Read more: Reproducing an Old Master Portrait Painting
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Lots of folks are familiar with this classical-style portrait I did of Stewart Copeland. Want to learn more about the techniques utilized in the painting process? Read my newest tutorial @ Squidoo.

Read more: "Paint a Portrait Like a Renaissance Old Master"
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Check out my step-by-step tutorial on how I created the following still life painting of two pears.



Read more: "Creating a Classical Still Life Oil Painting"

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Nicole ("sockii") Pellegrini

January 2013

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