Portfolio of Works

Mastercopies & Collaborations

Mastercopies & Collaborations

According to tradition, your father paid for you to apprentice in a master's workshop.  By watching and copying the master's work you learned how to paint.  Eventually, the apprentice is encouraged to paint portions of the master's compositions, as Leonardo da Vinci did in his master, Verrocchio's paintings.  At this point and in our modern world this work may be classified as a collaboration.

Melissa Weinman began teaching Lara Herrmann how to paint by allowing her to select the masterpieces she wanted to study and then teaching her how to paint them.  Copying masterpieces is a time-tested method for learning the demanding art of representational painting.  Weinman has been copying masterpieces for years as a way of improving her own painting skills. 
Currently Melissa and Lara are collaborating on a 95" x 51" full figure portrait commission of Bishop Luis Artemio of Tepic, Mexico.

Technically no one alive today has ever heard Mozart's music.  We have only heard people copying and interpreting his music.  Why should it be different with art?  Melissa and Lara have taken masterpieces from the past and brought them into this century to celebrate them.  Contact us to bring your dream of owning a masterpiece into reality!

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Saint Stories

Saint Stories

The Frye Art Museum is pleased to present the exhibition Melissa Weinman: Saint Stories.  Weinman's images of saints and mythological characters reinvest well-worn legends with contemporary concerns.  The idea of loss and recovery, expressed in universal or highly personal terms, is particularly evident in works ranging from St. Lucy: Patron Saint of Vision (the loss of eyesight) to the Why Die? series (loss of a loved one).

 

What Weinman does with her subjects, whether a Madonna or Cupid, should not be mistaken for nostalgic reworking of traditional subject matter.  By divesting the saints of their pious props and attitudes, Weinman reinvests them with individuality and moving personal dignity.  Saint Sebastion in army boots, Cupid in cutoffs: these unexpected "re-visons" compel us to rethink our assumptions about the relationship between observed reality and imaginative impulse.  Taking on art history and the banality of legend is a daunting and ambitious agenda for any artist.  Fortunately, Weinman brings an enviable mastery of drawing and painting to the task, as can be seen in the sensitive studies and the small, evocative, panels included in the exhibition.  --Richard V. West, Executive Director

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