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MarcoLM T. LTEPKE
Ageless and universal qualitiesalcolmT. Liepket figures could have
appeared in the Vienna Secessi'on
of the late 196 century-in the
Belle Epoque-farther back in Pre-Raphaelite
England-or at almost any time in human
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
and began studying the work of some of the
great artists of the past: ]ohn Singer Sargent,
Edgar Degas, Toulouse-Lautrec, Vel{zquez,
James McNeill'Vhistler, and Iidouard Vuillard.
The seemingly eflortless spontaneity
of Sargent sometimes resulted in passionless
portraits, subjects caught in their time. Veldzquez,
howeve! captured the essence of his subjects,
creating psychological studies that transcend time.
Liepke combines both looseness oftechnique and
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
suggest both resignation (her right arm hanging
efforr)esrly ar her side) and cautious protection
(her 1eft hand grasping the edge ofher shawl) as
she gazes at her viewers with caution. tW/hatever
her actual emotion, Liepke has created an image
that engages the viewer at several emotional
levels, especially recognition and empathy.
Oscar'Wilde wrote, "Every portrait that is
painted with feeling is a portrait of the artist,
not ofthe sitter." G
a ditect linh to theexbibiting gallerl go
Rronsao LoNc Harn, oIL oN cANvAs, 14x 9" MvsrreuB, oIL oN cANvAs, 38 x 26"