portrait drawings

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  • Jane Macausland C18th Ramsay

    31.8 x 24.8

    pencil on paper

    2001

  • Barbara Higgins C16th Moroni

    30.8 x 24.2

    pencil on paper

    2002

  • Brian Sewell C18th David

    30.5 x 24.2

    pencil on paper

    2002

  • Robin Katz C16th Bronzino

    31.1 x 25.4

    pencil on paper

    2003

  • Michael Leonard C17th J Guillaume de Pré

    17.8 diameter

    pencil on paper

    2003

  • Christian Hills C16th Clouet

    pencil on paper

    2004

  • Aleko Goulandris C15th Bellini

    32.4 x 25.7

    pencil on paper

    2004

  • Gillian Jason C18th Ramsay

    30.5 x 23.9

    pencil on paper

    2004

  • Gary Haller C19th Ingres

    pencil on paper

    2008

  • Greg Doran C17th Van Dyck

    33 x 24.2

    pencil on paper

    2008

  • Colin Crewe C19th Waldmuller

    30.8 x 23.5

    pencil on paper

    2009

  • Roberto Ceriani C19th Ingres

    30.8 x 24.2

    pencil on paper

    2009

  • Jonathan Berger C19th Ingres

    31.1 x 24.2

    pencil on paper

    2009

  • Anthea Gibson C16th Raphael

    30.5 x 22.9

    pencil on paper

    2009

  • Julia Gahlin C16th Clouet

    30.2 x 22.9

    pencil on paper

    2010

  • Sven Gahlin C16th Clouet

    30.2 x 22.5

    pencil on paper

    2010

  • Sir Roy Strong C16th Clouet

    32.7 x 24.5

    pencil on paper

    2010

  • Michael Leonard C17th Van Dyck

    30.5 x 23.5

    pencil on paper

    2011

  • George Hall C18th Alexis Simeon Belle

    30.8 x 23.5

    pencil on paper

    2012

  • Edward Lucie-Smith C18th Botoni

    30.2 x 24.5

    pencil on paper

    2012

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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