Why I Value Creating Master Studies

One of the most valuable additions to my art practice in recent years has been the creation of master studies — small paintings based on works by artists I deeply admire. I am always looking for ways to continue developing my skills, and this practice has become one of the most effective learning tools I have found.

For those unfamiliar with the term, a master study, or master copy, involves recreating another artist’s painting as a form of study and education. It is not about claiming someone else’s work as your own or attempting to imitate another artist’s career. Instead, it is about closely examining how accomplished painters approached composition, colour, light, atmosphere, and design, and learning from the decisions they made.

Learning Through Observation

Artists have learned this way for centuries. In traditional ateliers and academic settings, students were trained by copying drawings, sculptures, and paintings by established masters before developing their own independent voice.

If an artist has already discovered a remarkable way to capture light, simplify shapes, organize a composition, or create emotional impact through colour, there is tremendous value in studying how they achieved it. Rather than relying entirely on trial and error, I can learn directly from painters whose work has endured for generations.

Artists Who Have Influenced My Studies

I initially began creating master studies based on the work of French Impressionist and Post-Impressionist painters, particularly Claude Monet and Vincent van Gogh. With Monet, I am continually drawn to his treatment of atmosphere, shifting light, and subtle colour relationships. His paintings can appear effortless at first glance, but studying them closely reveals just how intentional every brushstroke truly is. Van Gogh offers a completely different experience. What fascinates me most is the energy and movement within the paint itself. His expressive brushwork, bold colour choices, and emotional intensity make each study feel dynamic and alive.

I have also spent time studying the work of Edward Hopper. Although his style differs greatly from the Impressionists, his paintings are equally instructive. Hopper’s use of light, architecture, mood, and quiet narrative has taught me a great deal about composition and emotional atmosphere.

After Edward Hopper High Road (1931) Small Master Study

Media: Watercolour on Paper Size: 7 x 11 in  Artist: Susan Lynne Peters

Looking ahead, I would like to spend more time studying the work of Emily Carr and the Group of Seven. Both have such a powerful sense of place, movement, and design, and I know there is much to learn from immersing myself in their paintings.

Why I Prefer Working in Miniature

One aspect of this practice that I especially enjoy is creating these studies in miniature format.

Working on a smaller scale allows me to focus entirely on studying and deconstructing the painting without turning it into a major time commitment. Most studies can be completed within a day or two, which keeps the process manageable and engaging.

The smaller format also encourages me to concentrate on the essentials of the painting:

• composition

• colour harmony

• brushwork

• values

• edges

• mood

When a painting is reduced in scale, it quickly becomes clear which elements are truly carrying the image and which details are secondary.

After Claude Monet The Cliff Walk at Pourville (1882) Miniature Master Study

Media: Watercolour / Gouache on Paper Size: 6 x 9 in  Artist: Susan Lynne Peters

What I Gain From the Process

Every master study teaches me something valuable.

Sometimes the lessons are technical:

• how to mix greys more effectively

• how to simplify a tree line

• how to suggest light with fewer brushstrokes

• how to create depth through value contrast

Other lessons are more subtle:

• how to build mood

• how to guide the viewer’s eye through a composition

• how to create a sense of life and movement

• how to communicate more with less detail

The process also serves as a reminder that paintings which appear effortless are often built upon years of experience, thoughtful decisions, and careful design.

How It Strengthens My Original Work

Perhaps the most important realization is that creating master studies does not make me paint like someone else. By studying other artists closely, I develop my own instincts as a painter. I become more aware of strong compositions, more confident with colour relationships, and more efficient at simplifying shapes and solving visual problems in my own work.

Why I Continue to Do Them

For me, these small studies are a way to remain curious, continue improving, and stay connected to the long tradition of artists learning from one another. And perhaps most importantly, each study leaves me with something practical that I can carry forward into the next original painting.