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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

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