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because he only wanted to donate his forger- ies to smaller museums, [which] were thrilled to possess important works. He relished the interactions with museum directors. Over a leisurely lunch, for instance, dressed as a Jesuit priest — one of his many disguises — Landis explained to a museum official that the painting was 'in memory of my mother.'" INTENT Not all of us who copy paintings intend to be forgers! When I studied at the Art Students League in New York, I was encouraged to copy the "mas- ters" at the Metropolitan Museum of Art. If I could secure permission from the registrar's office to set up an easel and paint in the gal- leries, I would be well prepared to launch a portrait painting career. Education, rather than forgery, was my intent. "You can't go wrong imitating the best. Study pleasing color combinations along with com- position," established artists told me. "All the visual challenges have been worked through." For one year, on Thursday afternoons, I kept company with the following: • Titian (Filippo Archinto, 1556). It was painted just before Archinto was to become Archbishop of Milan. Political and religious turmoil intervened, preventing the appointment. Eric Hebborn is another artist featured in the show. Photo courtesy of The Ringling Museum Sarasota News Leader July 18, 2014 Page 91