References to Caravaggio, Ribera, Vermeer, and other old masters abound. In fact several of his large-scale portraits at the Hasted Kraeutler gallery look more like copy photographs of paintings than likenesses of the sitters themselves. His subjects are chosen from those whom Gonnard considers existing on the fringes of society: Gypsies, the blind, punks, immigrants, circus performers, and monks. The intent behind photographing his subjects in this old master style is to both ennoble the individual and to reference the universality and timelessness of suffering. The work is visually striking, and Gonnard’s technique masterful, but there is something very wrong with these pictures.