Largely self-taught, Malcolm T. Leipke paints in a style that synthesizes the work of other artists—John Singer Sargent, Edgar Degas, Henri de Toulouse-Lautrec, Diego Velázquez, and James McNeill Whistler, among others—to create portraits that are both visually familiar and wholly unique. Liepke favors portraits of ordinary women in glamorous contexts, producing voyeuristic nudes that are sexualized through a realistic lens rather than a pornographic one. Loose brushstrokes and dusty gray-green skin tones imbue his subjects with a fleshy sensuality, while simple gestures and expressions convey emotions. Leipke paints from photographs and works in a wet-on-wet technique, borrowed from artists like Sargent and Velázquez, in which layers of oil paint are built up without drying in between.
His art has been on the covers of Time, Newsweek, Forbes and Fortune. His artworks are now in the collection of the Smithsonian Institution and the Brooklyn Museum. Liepke's work has been widely shown and exhibited in the Pastel Society of America, the American Watercolor Society, National Academy of Design and the National Arts Club. Liepke's emphasis has been on figurative artworks. His paintings and drawings often focus on intimate moments of sensual pleasure and introspection. Malcolm T. Liepke has been selling out his exhibitions since his 1986 show at ELEANOR ETTINGER GALLERY. There are now available at Arcadia Contemporary at least one large coffee table book on his art and several catalogs of his earlier shows.
He is represented by New York's Arcadia Contemporary & Telluride Gallery of Fine Art in Telluride, Colorado. An interview with Liepke appeared in the October 2006 issue of American Artist magazine.[3]
More info: en.wikipedia.org
Leipke paints from photographs and works in a wet-on-wet technique, borrowed from artists like Sargent and Velázquez,
Loose brushstrokes and dusty gray-green skin tones imbue his subjects with a fleshy sensuality, while simple gestures and expressions convey emotions.
Liepke favors portraits of ordinary women in glamorous contexts,
roducing voyeuristic nudes that are sexualized through a realistic lens rather than a pornographic one.
His art has been on the covers of Time, Newsweek, Forbes and Fortune.
His artworks are now in the collection of the Smithsonian Institution and the Brooklyn Museum.
