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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
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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
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engages
the viewer at several emotional
a ditect linh to the exbibiting gallerl
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x 26"
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