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• Francois Drouais (Marie de Verriers, 1761). After a successful career in music and theater, she established a renowned cultural salon during the reign of Louis XV. Perhaps the king's paramours, Madame du Barry and Madame de Pompadour, were discussed? • Jean-Baptiste Greuze (Compte d'Angi- viller, 1763). Director-general of buildings for Louis XVI, the compte advanced the noble style for all the arts in France. And, finally, I studied the British influence, to which many of our American artists looked: • Sir Henry Raeburn (George Harley Drummond, 1808). Drummond, a Scottish Member of Parliament, was also a reckless spendthrift and gambler. After he went bankrupt, he fled to Dublin, Ireland, where he died in 1855. To avoid confusion about my final products, the registrar stamped the back of each canvas: "METROPOLITAN MUSEUM OF ART COPY." Years later, I was able to put into practice what I had learned. Goya Foods, then the larg- est Hispanic corporation in the United States, celebrated 50 years in business by commis- sioning me to paint a mural. The painting would trace the firm's origins in Spain and include many portraits of the founding family and its close associates. After the unveiling, I treated myself to a "grand tour" of European galleries and museums. I was excited to follow in the foot- steps of the "masters," particularly Thomas Gainsborough, Sir Joshua Reynolds and the American, Benjamin West. Florence was at the top of my list. I met with Dr. Silvia Barbara Dondero prepares her copy of the portrait of Lucas van Uffel by Anthony Van Dyke. Photo courtesy Barbara Dondero The finished copy of Dondero's portrait of Marie de Verriers. Photo courtesy Barbara Dondero Sarasota News Leader July 18, 2014 Page 94