Of course, it’s a coveted spot and allegedly takes (a mere) two years’ wait to get in. After being granted a permit – something that became accessible for the Louvre just one month after Marie Antoinette was beheaded and it was then developed into the museum we all know it as today – it was declared that artists must be supplied with an easel, free of charge, and they are allowed three months to work in the galleries. There is, of course, a strict protocol following the work created by the copyists, which includes making sure that the painting is either slightly smaller or larger than the original, and the signatures cannot be reproduced, understandably. Either way, it’s a spectacular way for artists to learn from the greats, without them actually being there.

Knowing this history gives a profound insight into Mark’s working process. “I have always been an artist,” he tells It’s Nice That, “and I was encouraged as a child.” Clearly a perfectionist in his craft, he was undoubtedly surrounded by art and naturally steered this way from a young age – it was inevitable that he would end up on this path. “I love all art and all artists who are sincere,” he adds, “and the museum has great significance.” With this in mind, Mark would begin his day early and work on his practice every day, “oil painting with a lot of time spent on construction”. He adds: “I begin with step-by-step procedures and the problems develop – it becomes a free form approach within the structure.”

Mark’s subjects fall nothing short of captivating – whether it’s a group of dancers in a soft embrace, faces blurred, of course, or a group of girls sat together shielding their eyes from the supposed flash. As for his audience, despite the unintended trickery, they are left to decipher their own interpretations of the works. We are left to observe its fine details and mastership, wondering whether, one day, they might end up being a piece for the copyists.