Laara Cassells

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Laara Cassells, “Marina and a Portrait of a Lady (after Julius Leblanc Stewart),” 2013

acrylic on Dibond panel (collection of the artist)

One day, while teaching at Medicine Hat College, artist Laara Cassells made a time-collapsing observation.

“I saw a student holding her cell phone and her hands looked just like an old master’s painting … of a lady holding a book,” she says. “As a teacher of art history, I have this data bank of thousands of pictures in my mind.”

Cassells – a painter, sculptor and former costume and theatre set designer – is talking about the inspiration for her exhibition, _after, at the Whyte Museum of the Canadian Rockies in Banff, Alta.

Cassells painted that student’s hands alongside the historically rendered ones, but then realized few viewers would get the reference. So she began to examine her students for faces that resembled depictions from the past.

The exhibition, on view until June 9, includes 14 paired portraits, each pair in their own frame. One is a copy of a historical portrait, while the other shows a contemporary model. They are all women, except one pair of men and one historical subject who allegedly was cross-dressed.

The paintings are vivid and engaging, readily catching one’s eye.

Cassells began with a photo shoot. She gave models latitude with props, positioning and even their costume. Some brought their own outfits. Some attire was modified for the sitting, or even doctored with Photoshop.

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Laara Cassells, “Jessica Day and Empress Elisabeth Alexeievna (after Elisabeth Louise Vigée Lebrun),” 2015

acrylic on Dibond panel (collection of the artist)

To avoid potential copyright issues and other complications, Cassells chose paintings older than 75 years. The earliest is from 1460, the latest about 1921. In some cases, she was able to view the originals in galleries. But she also worked from reproductions, many found online.

Although the masters painted in oil, Cassells used acrylic and finished the paintings with three coats of varnish to give them depth and texture.

Her copying of facial features and fabrics is remarkably accurate. She boldly tackled a Rembrandt in Katie and Hendrikje Stoffels (after Rembrandt van Rijn). Another striking example, Marina and a Portrait of a Lady (after Julius LeBlanc Stewart), incorporates a portrait by an American realist.

Cassells encountered challenges when copying, such as rendering a skin-toned background that also allows the face to resonate.

“It turned out to be good for me because I learned so much about painting in the process,” she says.

The contemporary models wear earphones or hold a cellphone or computer. One has a nose ring. The historical subjects have relaxed hands, or their hands are outside the frame. Their props are rare, save the odd hat, pillow or urn.

Cassells extends the backgrounds from the old paintings behind both figures, so it almost feels as if they were sitting together at the same time.

She says the concept guided her more than a desire for social commentary.

Viewers will likely reflect on how much times have changed. And yet, you also realize that people – their physical types and features, as well as their attitudes – are not as different as you might think.

But we do, as these paintings suggest, appear to have more toys now. ■

_after is on view at the Whyte Museum of the Canadian Rockies in Banff, Alta., from April 13 to June 9, 2019.