“The work is only finished when there are no more distractions.” Desiree Dolron

As most of the things in our life – my discovery of Desiree Dolron Photography started from the curiosity. What you’ve learned from my previous post – falling asleep in my antique  bed transferred me again to the past, this time to the Renaissance . When I opened my eyes I found myself in a huge atelier of  Domenico Ghirlandaio . What is more – from the clothes I was wearing I figured out that I’ve became his model  for one of the world’s most spectacular artwork– “ Portrait Of Giovanna Tornabuoni”.

When I looked  out the window I saw that day way still young. Domenico looked very friendly and sympathetic, but sadly enough  he wasn’t a very  talkative person. I tried to ask him something but he simply would not hear my question, being totally devoted to the creative process. I’ve noticed that the artist must have been very  pleased with the progress of the work on his painting what I concluded after noticing a contentment on his face. ‘Very well’ – I said to myself – ‘It looks like I am going to spend the next few hours on just standing here.’ Obviously, I had enough things on my mind to think of, such as the intriguing Fine Art Photography that I’ve recently found on the Internet. Something was telling me that some of the things that I’ve read about have an impact on my travelling in past. I tried to connect the dots – but some  of the things  were still very unclear. The more the new art-related discoveries fascinated me – the more likely it was that I ended up in past centuries. I remembered very well the few sentences describing the portraits of Desiree Dolron and was wandering – what if I’ll be closed in a castle form which there will be no way out.

desiree_dolron Xteriors2(c) Desiree Dolron, ‘Xteriors’

“Pale little faces that never come outside. Living in a castle and anxiously shielded from the outside world by their mother. The images of intangible, young women, that can’t be contextualized” (GUP Meets Desiree Dolron)

Desiree Dolroon4(c) Desiree Dolron, ‘Xteriors’

How did I find Dolron’s artwork? I came across her exceptional collection of images called “Xteriors” while reading posts on several different professional forums. Since I was especially interested in ‘the retouched photography’ I looked through many interesting elaborations of young art enthusiasts discussing possible ways of how to get ‘painterly light’ and making a photography look like a painting. Painters (unless they’re painting something surreal, like Picasso or Tomas Kinkade) are usually trying to emulate “real light”. What the contemporary photographers are looking for right now they try to achieve the ‘painterly light’. I believe this is the turning “Wheel Of Art History”.

Or let’s call it “return to innocence”.


Xteriors Vermeer

                                    (c) Desiree Dolron, ‘Xteriors’

A girl reading a letter 1657, Vermeer, Gemaldegalerie, Berlin

 Jan Vermeer, ‘Girl Reading A Letter’, 1657, Gemaldegalerie, Berlin

I won’t hide that I’ve been fascinated by the ‘painting-alike’ technique since I saw the alluring photography by another Dutch artist and fine art photographer Danielle van Zadelhoff.

From what I’ve learned  from my online research – if one wants to reach the level of artwork- it is necessary to start with sets, makeup, lighting, composition. However – the most important part of the work is the artistic vision – you need ‘a good story’ to tell. Something that most of the artist actually have without ever telling us. Stories from their childhood, stories that they have heard from somebody and could never forget. Nevertheless, what matters to the artist is the way the onlooker perceives and absorbs art. What interest the inspired minds is what kind of emotions do the artworks cause.

It is plain to see that the technique used by Desiree is both extremely refined and very laborious. However the final result is overwhelming and moving. We can feel ‘taken in’, becoming part of the mysterious scenery – young women wearing black dresses, are they imprisoned in the dark chambers? Do they miss the light?

Desiree Vermeer2

(c) Desiree Dolron, ‘Xteriors’


Jan Vermeer.’Woman Holding a Balance’, ca. 1664,National Gallery of Art, Washington

It is quite impressive when somebody is telling you that he or she has been  working on a single image for  2 years.  This is exactly what Desiree Dolron tirelessly did. During one of the interviews given by herfor an online magazine GUP I’ve learned that the artist called her process of working on the “Xteriors” –  “Puzzles with millions of pixels”. This explains what’s the life of the artist is like. I could compare this long process to Michaelo Angelo work, that is giving shape to a marble. It is simply impossible to “produce” hundreds  of photographs during a lifetime.

On the other hand, whenever I look at artworks of the highest “artistic acumen” such as the one as presented by Dolron I notice one ‘common thing’ . Namely, that artists who choose that kind of approach towards their work are very self-confident and strongly convinced of their own genius and brilliance.

This is exactly why they can afford to develop freely their own artistic inclination, differently from many other photographers, forced to produce great numbers of artworks while keeping an eye on the capricious moods of the art market.

It is crystal clear that when you look at the highly aesthetic work of Desiree  what you notice is her  well-thought starting point.  With her art she teaches us that “less is more”.

Not everybody knows but a great painter Vermeer, that lived in the 17th century produced only two or three works per year. It takes a great courage and persistence to resign from the regular income and create restricted number of highly significant number of paintings for a few connoisseurs who share the same vision of art.

In my eyes both  artists from the “Law Lands” – The Netherlands – Danielle Van Zadelhoff and Desiree Dolron are the rare, visionary artist who are capable of infusing a sense of timeless dignity and moral gravity to their scenes.

The truth is that reprocessing photography could be a an extremely time-consuming activity, but only seeing the result makes you realize that your efforts and ‘dry-eye-nights’ in front of your computer were all worthwhile.


It’s been few hours since I appeared in the Renaissance and I was getting very tired from posing. No wonder – if you have to stand without moving for so long your back starts hurting terribly. Seeing my unhappy face Domenico has put down his palette, looked at me with his big, brown eyes and asked me if I was hungry. Of course I was – but at the same time I  was a bit worried what  kind of dishes are they going to serve me, knowing it’s 15th century. Deep inside I was  thrilled to notice that travelling in time includes  acquiring new skills. My Italian, the language I always liked but never really learned – was flawless. ‘Adiama caro Domenico’ I said following the artist through a specious atelier and  reflecting on the simple thought of how wonderful it was to get another chance to talk to one of the world most amazing artists.

Domenico Girlandhio

Adoration of the Magi, detail (probable self-portrait) – Domenico Ghirlandaio