Well, Mark... the general public who has no interest in technique will get their noses into my prints every single time. And I get right up to a
Rothko painting just like I would an Impressionist, because the technique warrants it, even though there might not be any obvious detail. Only
from someone like Mondrian or Motherwell will I back away, because I detest all the tape lines and overpainted creases. I once displayed beside Motherwell, and it's interesting how people would approach my prints and back away from his paintings. ... and it had nothing to do with the overall composition... they could take that in as well. Vermeer was almost a miniaturist, and you miss 90% if you don't get close. Rembrandt
comes alive when you see all the little impasto gold buttons of paint sparkle in his self-portrait.. even though in a book or printed reproduction the same image gives a so-so thud ... his genius was to bring you into the composition. With VanGogh you want to feel the impassioned intensity he put into every single brushstroke - something no counterfeiter has ever been able to do, no matter how analogous
the overall subject was. I have people who have owned one of my prints for decades and then will suddenly discover something new. It's
quite rewarding as a printer to embed those rich layers of content. For those who can't appreciate it ... well, they can shop at Ikea!