Bespoke paintings in the style of the old masters. From the ground of the canvas to the Multiple glazes of colour.
Commission options
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Replica of an Old Master, Commission me to recreate a timeless masterpiece.
A Replica of an old Master
Own a faithful hand-painted replica of a painting you love but cannot possess — masterpieces forever held in museum collections.
Each work is meticulously reproduced using traditional techniques, pigments, and materials true to the Old Masters, capturing not only the image but the spirit and craftsmanship of the original.Example: The Arnolfini Portrait by Jan van Eyck
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Portraits in the Style of the Old Masters Commission me to create a portrait in the grand tradition of the Old Masters.
Portraits in the Style of the Old Masters
Individual or family portraits painted using historic techniques, with period styling. In the style of Jan Van Eyck, Rembrandt, Caravaggio, etc.
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Modern Adaptations of Old Master Paintings Where modern imagination meets Old Master technique.
Commission a unique reinterpretation of a historic masterpiece — a new composition inspired by a famous work, painted entirely with the same time-honoured methods and materials.
Each piece becomes a dialogue between past and present: the soul of the original, reimagined through your personal vision and my craft. -
Detailed Studies from Masterpieces, Commission me to paint an intimate study from a larger work.
A focused section drawn from a grand composition — a hand gesture, a face, or a fragment of still life — rendered with the same care and technique as the original painting.
These studies offer a more personal scale and a deeper appreciation of the Old Master’s design, texture, and light. -
Portrait Drawings in the Style of the Old Masters Commission me to create a portrait drawing inspired by Renaissance masters.
Individual or family portraits rendered with the precision and sensitivity of the Old Masters, using traditional materials such as charcoal, chalk, or silverpoint.
In the spirit of Dürer and Leonardo da Vinci, each drawing captures not only likeness but character — timeless, elegant, and entirely hand-drawn.
My painting technique
Indirect painting is a traditional method in oil painting where the artist builds up the image through multiple layers, allowing each layer to dry before adding the next. It contrasts with direct painting (alla prima), where the artist completes the work in one wet session.
Here’s how indirect painting works in practice — it’s the classical, Old Master way of working that you use:
The Process of Indirect Painting
1. Drawing / Transfer
◦ The composition is carefully planned, often drawn on paper first and transferred to the prepared panel or canvas.
2. Imprimatura (Toned Ground)
◦ A thin, transparent wash of a warm or neutral tone (often raw umber or earth color) is applied to eliminate the stark white of the canvas and unify later layers.
3. Grisaille or Ébauche (Monochrome Underpainting)
◦ The artist blocks in the values (light and dark) using a single color or limited palette—often raw umber and white.
◦ This stage focuses on form, light, and shadow, not color.
4. Color Glazing
◦ Once dry, thin transparent or semi-transparent layers of color (glazes) are applied using mediums like linseed oil or damar varnish.
◦ Each glaze subtly alters the tone and hue of the layers beneath, creating luminosity and depth.
5. Scumbling and Highlights
◦ Opaque, lighter tones are brushed over darker glazes (scumbling) to create atmospheric effects.
◦ Details and highlights are refined in final touches.
Advantages
• Depth and luminosity: Light travels through the transparent layers and reflects off the underpainting, creating that glowing quality seen in Old Master works.
• Control and refinement: Each layer can be adjusted or corrected before the next, resulting in highly polished surfaces.
• Durability: When done properly, layered paintings age more gracefully than alla prima works.
Artists Who Used It
• Jan van Eyck perfected early oil layering.
• Titian, Rubens, and Rembrandt refined glazing and scumbling.
• Caravaggio used it for dramatic chiaroscuro underpaintings.
• Later academic painters like Bouguereau continued the tradition.