portrait drawings

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Arranging the pictures

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  • Boaz Mazor C19th Ingres

    29.2 x 24.5

    pencil on paper

    1984

  • Mark Hampton C19th Ingres

    29.2 x 22.9

    pencil on paper

    1984

  • Julian Hosking C15th Durer

    pencil on paper

    1984

  • Joseph Duell C18th French School

    29.2 x 21.9

    pencil on paper

    1984

  • Paul Cadmus C19th Photograph: Brady

    16.5 x 12.1

    pencil on paper

    1984

  • Michael Leonard C17th Velasquez

    pencil on paper

    1984

  • Jon Anderson C15th Venetian School

    16.5 x 12.1

    pencil on paper

    1985

  • Frederick Koch C19th Ingres

    33.3 x 26.4

    pencil on paper

    1985

  • Thomas Belezza C19th Ingres

    16.5 x 12.1

    pencil on paper

    1985

  • John Jensen C19th Ingres

    16.5 x 12.1

    pencil on paper

    1985

  • Nicholas Haslam C19th Ingres

    32.4 x 25.4

    pencil on paper

    1985

  • Zephyr (a dog)

    pencil on paper

    1985

  • John Bull C18th Liotard

    15.5 x 10.5 approx

    pencil on paper

    1985

  • Mary Laura Gibb C19th Sargent

    31.8 x 23.2

    pencil on paper

    1985

  • Robert Hughes C16th Durer

    31.8 x 24.2

    pencil on paper

    1985

  • Michael Murfin C16th Holbein

    30.5 x 24.5

    pencil on paper

    1985

  • Michael Leonard C17th Van Dyck

    pencil on paper

    1985

  • John Richardson C17th Cooper

    31.1 x 26.7

    pencil on paper

    1985

  • John Richardson C20th Sargent

    30.8 x 24.8

    pencil on paper

    1986

  • Bill Blass C19th Photograph: Brady

    30.5 x 25.4 approx

    pencil on paper

    1986

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Portraits in Time

Every now and again I encounter a face that seems to be straight out of a portrait by one of the great artists of the past such as Holbein, Van Dyck or John Singer Sargent. To recapture this haunting sensation, I devised ‘Portraits in Time’, a set of drawings that pitches contemporary faces back through time to a period that better matches their facial characteristics. Adopting the style of an artist of the day, I use the illusionist technique of trompe-l’oeil to present my portrait as a reproduction, torn from the pages of a catalogue.

Often my subjects are intrigued to find how completely at home they seem in that earlier time - even more at home sometimes than in the present day! My portrait of George Hall for example, places him in the early eighteenth century. He looks so comfortable there, wearing a typical wig of the period, that after I’ve been looking at my drawing for a while, I have to struggle to return his face to the age we live in!

© Michael Leonard