An original oil painting should do what a photo cannot. Even the best “giclée” print on canvas cannot match the subtlety and intensity of real oil paint. Capturing the transparency of glazing effects is simply not possible, not to mention the three-dimensional quality of impasto. And even the best print will fade before oil paint, which can keep its glow for centuries.
The Provenance sticker on your original will remind you to have the painting revarnished once every century. Varnish is not as durable as oil paints once they have polymerized, about six months of drying time. Varnish should not be applied before then.
The “Originals Available” button takes you to a gallery. The “Originals/Price List” PDF has more details about buying a painting.
If for whatever reason you cannot own the original, a reproduction is a good choice. “Reproduction” implies matching the original as closely as can reasonably be done.* My printers use “Giclée” technology to print in high resolution directly on real canvas, with a no-fade life well over a century. At a glance, with a coat of varnish, these reproductions can be mistaken for an original. That’s why I add a data block at the bottom of the image so the information shows on the back as shown above. NOTE: with “giclée” there is no limit to the number of perfect prints. Thus the only value in a numbered, hand-signed “limited edition” is based on artificial scarcity. I don’t do that.
* If the original is on canvas, so is a reproduction. If you print it on paper, it’s only a photo, not a reproduction, of the original.
I work harder on commissions than on anything of my own. Imagining how you’ll tell your friends the story of your masterpiece motivates me to excel. No limit, no fine print, only fine painting. I work on your project until it blossoms into the piece you dreamed of. Only then is your final payment due.
I work from the best information available. You might only have a postcard and some detail snapshots. For the Miller Barn series I researched what wildflowers bloomed in that county at that season. For portraits, I often do photography and show you a good idea of how the final painting will look before touching canvas. The photography is reference only, never traced or transferred.
I use top-quality paints, solvents and additives on commercially-prepared canvases stretched on knot-free softwood frames to last for centuries.