|John Frederick Peto For the Track 1895|
Peto is effectively trying to pay homage to Cornelius Gysbrechts, even down to employing the motif of the wooden panel, letter rack or door as a backdrop to a collection of objects presented in a trompe l'oeil style.
The obvious difference with Peto is his choice of objects that are particularly contemporary to American life of that era. I'm not sure if there is anything particularly conceptually interesting about this - Peto doesn't move the genre on particularly, but then again perhaps revivals are always de facto different from their references, just by dint of context. The paint work isn't as fine as Gysbrechts either, a little more gestural, not quite so painstaking.
|John Frederick Peto Letter Rack 1894|
|Cornelius Gysbrechts Still Life with Portrait of a Soldier 1670|
|Cornelius Gysbrecths Letter Rack c.1670|
|Harland Miller Bridlington; Ninety Three Million Miles from the Sun 2002|
In my own work I am currently exploring this idea - beginning to work from images of images, rather than objects, such as I have tended to do in the past, as in the recent example below.
|Tom Helyar-Cardwell Urbis Aqua 2012|