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MASTERS REPRODUCTIONS thumbnails & informational details

Note: The Hans Heysen, Tom Roberts, Arthur Streeton, Charles Conder, Frederick McCubbin, David Davies, Louis Buvelot, Elioth Gruner, William Piguenot, Albert Fullwood, Leonard Long and Constable paintings I have reproduced over the years were created in the spirit of youth learning from a master.  Each of the Heysen and other images displayed on my websites are scans of photos I have taken of my acrylic or oil copies.  They are not photos of the original artist's work, either by way of a scan from a book, digital copy, or photo of an original in a gallery or private collection.  My source images for the Heysen paintings were derived from a scattering of reprints located in magazines and numerous of the 'Great Australian' whatever publications that have been churned out thick and fast over the last few decades.  I have utterly lost track of my sources during the 20 times or more I've moved since leaving home in Eildon.  I do recall once even picking up a page torn from a women's magazine.  It had a crisp, new print of a Streeton painting on it, which I promptly copied.  If anyone feels that I have committed a heinous crime and breached any form of copyright in trying to learn how to paint (I am self taught), and in displaying my copies of these great works, please email me at: infinitephd@gmail.com.

 

 

BUSHFIRE.jpg

 

The ORIGINAL of this painting from which I derived my reproduction is: Approaching Storm With Bushfire Haze, by Sir Hans Heysen [1877-1968] (c. 1913, Oil on canvas, 61 x 82.8 cm, Art Gallery of South Australia).

 

My reproduction of Approaching Storm With Bushfire Haze was painted in 1984, is 30 x 24 inches, and is painted in acrylic on art board.

 

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CONDER-TWILIGHT.jpg

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The ORIGINAL of this painting from which I derived my reproduction is: details yet to be included, by Charles Conder [1868-1909] (original painted 1897-1907, Oil on canvas, 101.6 x 193 cm, Private collection).

 

My reproduction of details yet to be included was painted in 1984, is 30 x 24 inches, and is painted in acrylic on artboard..

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DROVING_INTO_THE_LIGHT2.jpg

 

The ORIGINAL of this painting from which I derived my reproduction is: Droving Into The Light, by Sir Hans Heysen (1921, Oil on canvas, 122.4 x 154.9 cm, Western Australian Art Gallery). 

There is likely not enough money in Australia to persuade me to part with my copy of Droving Into The Light.  This painting took me perhaps 6 weeks of intense effort to finalize.  This time does not include the many instances of essential reflection required over a period of years that template the revisions and improvements that are the luxury of an artist who holds on to a painting for so long.  Like old wine, a painting can mature and improve with age.  The artist is time in this case and he/she will act upon the image in a feeble, but nevertheless noble, attempt to mimic nature's creative acts and imitate the superior powers of an admired artist.

My reproduction of Droving Into The Light was painted in 1984, is 30 x 24 inches, and is painted in acrylic on artboard.

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HEYSEN_3GUMS.jpg

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The ORIGINAL of this painting from which I derived my reproduction is: The Three Gums, by Sir Hans Heysen (1915-1920, Oil on canvas, 160 x 129.5 cm, Ballarat Fine Art Gallery). 

My reproduction of The Three Gums was painted in 1984, is 30 x 24 inches, and is painted in acrylic on artboard.

 

HEYSEN_CLEARING.jpg

 

The ORIGINAL of this painting from which I derived my reproduction is: Edge Of The Clearing, by Sir Hans Heysen (1926, Oil on canvas, 69.5 x 87.5 cm, National Gallery of Victoria, Melbourne).

 

My reproduction of Edge Of The Clearing was painted in 1984, is 30 x 24 inches, and is painted in acrylic on artboard.

 

It is owned by Mr. Graham Davies-Smith.

 

 

HEYSEN_FARM-ROAD.jpg

 

The ORIGINAL of this painting from which I derived my reproduction is: Droving Sheep, Summer's Morn, by Sir Hans Heysen (1897-1907, Oil on canvas, 101.6 x 193 cm, Private collection).

 

My reproduction of Droving Sheep, Summer's Morn was painted in 1984, is 30 x 18 inches, and is painted in acrylic on artboard.

 

 

McCUBBIN_CAMP.jpg

 

The ORIGINAL of this painting from which I derived my reproduction is: Artist's Camp, Mount Macedon, by Frederick McCubbin [1855-1917] (details yet to be included ).

 

My reproduction of Artist's Camp, Mount Macedon was painted in 1984, is 30 x 18 inches, and is painted in acrylic on artboard.

 

(Owned by Mr. Peter Ellis of Sydney).

 

 

Neil Savage

Neil SavageI have, over the years, given many of my masters reproductions and other paintings to professional artist Neil Savage to sell on commission.  Neil came to live in Eildon, Victoria where I grew up, in the early 70s.  He was a fabulous poet and writer of witty, critically incisive and caustic verse (a talent not generally known I think), and of course had a unique and purely Australian style of painting equal, in my opinion, to works by Pro Hart and many other great Australian artists of the last 30 to 40 years.  There really should be a website wholly devoted to Neil Savage and his wonderful contribution to Australian art (if there isn't already). 

Neil was very generous to me over an extended period of time, and extremely helpful to me in my career.

I gave all of my Port Stephens paintings to Neil when he and his wife Faye were living in the Port Stephens area and running the Greenhouse Gallery at Soldiers Point with his very talented artist daughter Christine Savage.  They all sold.   As far as I know, Christine has taken on her father's mantle, and is continuing in the painting style Neil Savage made famous. 

Below is a photo I took of Neil in his former studio at Port Stephens in 1990.  I have an autographed copy of Neil's 1990 Calendar, and a special note from him thanking me for my letters and concern, both of which I treasure greatly.  I didn't have the opportunity to know Neil as well as I would have liked to, but I consider it a privilege to have known him when I did.  Unfortunately though, I was around him when I was too young and stupid, and at a time when I usually failed, it seems to me now, to appreciate many of the good people close to me who were secretly teaching me great lessons in life.  And then, for one reason or another, these marvellous individuals leave you alone to grow up.  And when you do, you then understand the character and the greatness of someone who had something substantial to pass onto you and others.  These are the people who make improvements in history, even if you think it's just your own history.

 

Neil Savage in his studio

 

 

 

 

 

 

 

 

 

 

 

 

Copyright 2012 Murray Thompson infinitephd@gmail.com