Caroline Shotton's replicas include The Moona Lisa, Cow with the Pearl Earring and The Moo!

Based on classic works by the likes of Leonardo Da Vinci, Johannes Vermeer and Edvard Munch, the Londoner has sold more than 5,000 limited edition prints.



Mrs Shotton, 34, said: 'The collection transpired when I was watching a documentary about the Mona Lisa and it made me smile just thinking what the painting would look like if replaced with one of my cows. And then came the puns – The Moona Lisa, I couldn't resist.'


I imagine cows to be very much like children in the sense that they are cheeky, playful, mischievous and far more intelligent than we give them credit for,' she said.



Her collection – which also includes Cow with the Pearl Earring, The The Cavelier and Moo Gough – is currently a Really Fab Cards best seller!






The artist admits her life has been taken over by cows but she has no regrets.

'I can't stop thinking about them but I love the reaction my work gets,' she said.

Special Offer When You Buy All 12 Caroline Shotton Cards

I Love Moo

Caroline Shotton is one of Washington Green's most popular artists.

Camilla An Original Oil by Caroline Shotton

Twelve of her works have been captured as greeting cards and as the themes (very cute cows) are so sweet and the titles so witty, these are great cards to send to everyone and especially a Caroline Shotton collector.

Moonies

Free Gift Box Offer

We really appreciate the importance of quality packaging and as the cards are so lovely, we want them to kept in a lovely place! So, as a special treat for your cards (and this is very useful if they are a present) when you spend just £25 on cards, your cards will be sent in a beautiful, rigid, gift box.

About Caroline Shotton

From Palette to Picture.

I generally have a clear vision of what’s going on the canvas and my preparation involves collating reference material relating to the theme of the painting and some very rough preliminary drawings, although sometimes I sketch straight on to the canvas and allow the piece to develop of its own accord.



Top of the Moorning

I use layers of paper, paint and varnish to accentuate particular areas and to create a tactile surface. This invariably takes time to dry so I work on a number of canvasses simultaneously.



Mooboro Country

I begin by a applying a subtle texture to the whole canvas using primer and tissue paper, roughly sketch out the composition and block in the larger areas of colour. The image is very abstract at this stage but I’m not precious about keeping within a particular line as this will change as the painting evolves. Next I work on the background design and the main image, paying close attention to balance their relationship as the more intricate backgrounds can easily become overbearing and detract from the whole concept of the piece. I then pipe a line of paint around the outer edges of the main image to differentiate it further from the background.


Thelma and Louise

When it’s near completion I apply a layer of varnish and paint over the whole canvas to unite the background to the figure. While this is drying I step back and view the piece from a distance, this enables me to decide which areas need any tone adjustment, and to make sure the facial expressions are correct. Lastly, I work on the fine detail. The eyes are the most important element and finest brushstrokes can change the character and personality immensely.


Moona Lisa


Taken from Washingtongreen.co.uk