Ed Copley

Although Ed Copley could take shortcuts and create works that would please many collectors, he believes strongly in his principles, devoting much time and energy into producing works of enduring quality. He notes that longevity is the test of the legacy of an artist. "Look around at the great ... moreAlthough Ed Copley could take shortcuts and create works that would please many collectors, he believes strongly in his principles, devoting much time and energy into producing works of enduring quality. He notes that longevity is the test of the legacy of an artist. "Look around at the great museums and see what stands the test of time. It is classical art, which is something that people can relate to and understand. It is a responsibility if you are going to execute quality paintings. It requires a lot of study, work and sensitivity. Every artist must try to accomplish his or her highest level of excellence.

Working from his studio in Arizona, Ed is a man of many visions. He is equally as comfortable painting a landscape of the Sonoran Desert with its majestic saguaro cacti piercing a stormy sky, the weathered face of a Tarahumara Indian woman, or a classical image of the Blessed Virgin Mary. No matter what the subject, he portrays it with realistic depth and brilliance, attempting only to bring it to life in a most exquisite manner. His representational style draws together many techniques dating back to the renaissance, masterful and painstaking skills that have nearly vanished in an art world that is often more consumed by commercialism.

"I have always been fascinated by art," says Ed. "From the age of five or six, I wanted to be a painter. And I have studied for many years to understand how the Old Masters achieved what they did. After attending two fine art schools and starting a career as an illustrator, I was still seeking more knowledge. I continued to study on my own and then went into the highly specialized field of restoration of oil paintings. I realized that I liked to solve problems, essentially doing detective work. If you have ever stood in awe in front of a great painting and wondered how on earth they created it then you can understand why restoration work can be so challenging. I wanted to find how they painted, as these old artists created works of art that hardly seemed possible." Ed goes on to note, "Answers to the mystery of how they painted came via my work in the restoration and conservation of old paintings. Art restoration is a highly specialized field that requires several unrelated skills from its practitioners. Those who excel in art restoration are combination scientist, historian, artist and exceptionally talented craftsman all rolled into one. The work also requires an inordinate amount of ingenuity, skill and patience."

Ed's studio calls to mind images of a European master from the 16th or 17th century. More like an atelier, replete with antique furniture and rustic walnut wooden floors, it is one in which many paintings and drawings sit on easels, as the artist busies himself going from one to the other, working simultaneously on several compositions. All that are missing are apprentices, as was true in the renaissance. In part the number of works in progress results from the Old World technique of glazing-the use of thin layers of paint diluted with oil that are applied in successive layers through the course of time. Each layer must first dry before the next application, and this is a labor and time intensive method that precludes an artist from simply concentrating on one composition at a time. The art of glazing develops richness in detail and color without the use of heavy applications of paint, but because it is such a slow process, few artists choose to use it at the present time.

With a classical attention to composition, meticulous attention to his use of light and devotion to the Old World application of pigment, Ed's paintings will remain perpetually enchanting in the mind and heart of his collectors. There is no doubt that his paintings will earn their place in the contemporary history of art.

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