About

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.