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Obviously one does not acquire a unique style of art by copying or by emulating a master. The beginners' target in copying the masters is to grasp the understanding behind the old masters' technique.
Hopefully this will help the student develop his or her own handwriting in drawing forms. Constable did copy a landscape by Ruisdael whom he admired but made copius notes in his sketches and with all the subtle nuances and the overall design of Ruisdael's landscape. It is worth comparing the two together.
A pen and ink study by Delacroix copied an etching by Goya but Delacroix changes the momentum and pace giving a vibrancy which takes the copy far apart from Goya.
The bright student in copying others' work does not enjoy an intimacy than a professional layman might. The copycat can grasp the positioning and how the forms protrudes in space, meanwhile the complexity in the original is often lost, even by the layman.
The old practice of using triangle, circles, rectangles, and s-curves over a great work of art is really silly. What does one gain by over-analysing a famous piece of art? Most of the old masters had a sixth sense about form and structure as it related to a spiritual awareness NOT a physical one! This is the primary downfall of the student.
If you can climb out of this physical universe (and remain exterior to it) you will become aware of energy flows and how even physical forms (not humans) put out and pull in vibrations. Ever watched a solar flare? It's a little like that.
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