Copying Rembrandt at the National Gallery courtesy of M.R. Goldsmith
Copy­ing Rem­brandt at the National Gallery cour­tesy of M.R. Gold­smith
Gordon works pri­mar­ily in the medium of oil paint­ing. He is a copy­ist at the National Gallery of Art in Wash­ing­ton, DC and a mem­ber of the Por­trait Soci­ety of Amer­ica as well as the Art League in Alexan­dria, Vir­ginia.

He was born in Glas­gow, Scot­land in 1948. He earned an M. Div. at Gordon-Conwell Sem­i­nary with addi­tional work at Har­vard Uni­ver­sity Grad­u­ate School. He has stud­ied oil paint­ing at the Art League School in Alexan­dria as well as the Scotts­dale Artists’ School with such mas­ters as Rob Lib­er­ace, Danni Daw­son and Rose Frantzen. His trav­els often inspire paint­ings. Recent trips to Spain and the Bekaa Val­ley in Lebanon resulted in sev­eral new pieces.

He has exhib­ited his work at the Art League Gallery, the Gallery With­out Walls and the Del Ray Arti­sans Gallery and his work is rep­re­sented in var­i­ous pri­vate col­lec­tions in the US and inter­na­tion­ally. In 2014, he painted a posthu­mous por­trait of Esther John, one of the Ten Mar­tyrs of the Mod­ern Era. He lives with his wife Pamela in the Town of Chevy Chase, where he has a stu­dio.

Artist’s Statement

Art is a para­dox. It reveals truth by cre­at­ing an illu­sion.

It is an excit­ing time to be part of the world of the visual arts. The twenty-first cen­tury is bring­ing a fresh revival of real­is­tic oil paint­ing in the west­ern tra­di­tion. Artists are recov­er­ing the craft of cre­at­ing an illu­sion of real­ity to direct our atten­tion beyond the daily grind in a ruined world to some­thing far bet­ter. Some of the paint­ings being pro­duced today are com­pa­ra­ble to the work of the great mas­ters of the past.

In some mys­te­ri­ous way, the best art whis­pers to the soul remind­ing us where we come from, who we are and why we are here. It is not just of this world. That’s why art has such power. Michelan­gelo was great not merely because he knew just where to place the chisel on the mar­ble, but in mas­ter­pieces such as La Pietà, he draws our atten­tion to the great­est of all sto­ries. In the same way, Rem­brandt was great not merely because he knew just where to place a brush­stroke, but because he was able to con­vey some­thing of this story in works such as The Return of the Prodi­gal. The full recov­ery of the west­ern tra­di­tion in fine art means not only that we recover the lan­guage. The lan­guage of paint­ing is only a means to an end. It means we use that lan­guage to say some­thing equally pro­found and won­der­ful.

Of course we can’t be con­tent with say­ing the same things the same way. Like any other lan­guage, art is a dynamic thing. Our chal­lenge is to tell the time­less sto­ries in a a timely way. We seek to mas­ter the dis­ci­plines of the past in order to add our voices in a fresh way to the con­ver­sa­tion in the present. I can’t say I’m there yet, but I aspire to be part of the revival of this great tra­di­tion.