I actually have sort of almost a day off, so I’m more vocal than usual.

Vermeer! Yee hah! How could I have not put him down right at the first blush?

Long ago, I came across a statement by Leonardo that the way to learn a master was to first study his masters. Applying that led me to a treatise by Alberti on perspective that to this day I think is the best ever written. At the beginnings of new forms, there is this gorgeous simplicity. Learn that, and the later forms seem to come.

If you study the blues from the twenties and thirties, combine that with the ancient lyricism of the British Isles, and master the accented syncopation of African beats you know the whole essence of rock music.

As I expect you know, it was a great part of the academic tradition to copy master paintings. Since the painters I most adored said they did that to great benefit, I followed suit.

What I have not done, and what excites me about this project, is to use exact versions of old techniques for modern subjects.

Rembrandt, for example, loved to go for walks and draw the people and places of his town. Imagine Rembrandt doing a painting of a crusty old automobile mechanic. Thrilling, huh?

But as to the market, I cannot say. I do know that there will always be a lot of people staring at any Rembrandt in any museum. He pulls. No doubt about it.

And the market for Monets is limitless. It’s that sense of happy serenity he emanates. There’s a hum that blows right out of the paint. People really get fueled by it.

Did you spend time learning to copy paintings, or are you like those people who can play a tune after hearing it once? By the way, how is the market for Rembrandt-style paintings?

Is Vermeer on your list?

Cezanne and I have issues, but Braque?

Problem is, I haven’t seen but one Titian; he’s just not well represented in California, so I think a trip at least to New York would be in order. I assume that’s which of the Mets you meant.

And thanks for the tip on a picture to see there.

But for Skin, well, Rubens, though the arrangement of his subjects and voluptuous form style don’t thrill me, could really, really nail texture, like skin.

Some consider him the greatest technician ever.

Hey Sunil,

Actually, I’m not sure I could do Van Gogh with any sincerity. He had a way of seeing that eludes me. Just duplicating the technique without getting into the right mind would not come off well.

I’m thinking now of Sgt. Peppers where the Beatles decided to pretend to be a different band. It’s something like that.

But I’d do Van Gogh if I could. And certainly I will try.

Also, I expect to have more free time once I’m staffed up and have trained all the new guys (or gals, if we are lucky). We have a new menu. Once the staff get it down, things’ll smooth out.

As to whether it’s possible to spend the time learning, well, it’s a lifelong thing. Never stop, I say.

Please reconsider Titian: he could paint Skin!

I also recommend (at least for enjoyment) looking at a painting I recently saw at the Met. You go up the Grand Staircase and directly ahead into the first Gallery. Go Left as far as possible and then turn right into the next Gallery. The first painting on your right: touching, amusing, fierce, beautiful, historical (Medieval), colorful, attentive, narrative, a varied cast of characters, earthy, wacky, etc.

I appreciate the full measure of my deficiencies.