What started as a lighthearted holiday gesture is now an intriguing series of paintings.

As the gallery statement for Alvey Jones’ “Vermeer Studies” at WSG Gallery tells us, “A tongue-in-cheek Christmas wish from Jones’ wife, Domenica, led him to embark on the ambitious (some would say preposterous) project of painting exact replicas of the works of Johannes Vermeer of Delft, using as much as possible only the materials, techniques, and equipment that had been available to the 17th century Dutch painter.”

However, concludes the statement, when “it quickly became apparent to him that his attempts to recreate a Vermeer were an abject failure, another ambition presented itself: What would it be like to create a series of Vermeer facsimiles and translate that experience into his own work? How might Vermeer use concepts, materials, and tools available today to produce comparable pictures?”

And now we get to the essence of this fascinating display, because Jones’ “Vermeer Studies: the Art of Painting” is ultimately a finely honed sociological investigation in the guise of artistic exercise.

One of Ann Arbor’s most intriguing talents, Jones’ prior work has at times featured exceedingly clever neo-Dada assemblages. It’s therefore all the more interesting that he would find himself attracted to this kind of exercise, because disciplining one’s talent is one thing — but pushing one’s art well beyond its prior comfort zone is quite another.

Once Jones crosses the threshold from Vermeer imitation to illustration, he essentially decomposes the earlier work.

This is because Vermeer is noted (among many other things, of course) for his sensitive study of female psychology. He crafted an oeuvre in which his model’s emotional state is as much an aspect of the work as her physicality.

Vermeer also explored social class; his models become penetrating commentaries on his time and place. Mingle these two qualities together and you have a recipe for a certain kind of genius.

Jones could have chosen from any number of Vermeer topics: light, placement, or mood. But these paintings have a remarkable similarity with Vermeer in that they illustrate an equally compelling view of a historic middle class.

Vermeer lived in a society where status was reflected in terms of cloth and manners, with the deft handling of dress and posture representing hierarchical status. Jones’ models exist on an economic middle ground by occupation as much as by observation.

His “The Artist and the Milkmaid” diptych gives us a contrast between the notion of work in Vermeer’s time and ours. Both artworks are faithful depictions of their circumstance; Jones just makes the most of the contrast.

The signal work of his exhibit is Jones’ diptych “Girl with a Pearl Earring.” This 1665 masterwork has been called (for good reason) “the Dutch Mona Lisa.” It’s one of the great portraits in the history of art. And it would also be a trap for an artist to replicate.

This makes Jones’ latter-day strategy inspired. A hackneyed response would be one of ridicule or irony — Jones has engaged in neither. Rather, just like in a good athletic bout, Jones has stood toe-to-toe with his counter and matched him insight for insight. The result is an original artwork that’s both homage and inspiration.

Vermeer’s model looks at the viewer from her left. Her visage is ambiguous — but the power of her gaze is certain. Her turban (and the artist’s attention to such detail) makes the work absorbing. It’s this coy elusiveness that’s intrigued viewers for centuries.

By contrast, Jones’ model looks downward in contemplation. Her short-cropped hair and denim coat are contemporary and casual. His attention to detail — for example, the blue and white sliver of his model’s blouse; as well as the all-important pearl earring — are a complement to Vermeer’s work rather than a competition.

Alvey Jones’ “Art of Painting” is a thorough mirroring of one’s time and place. Whether Vermeer led him to this direction, or he would have ultimately gotten here in any case, is irrelevant. But the subtlety of his Vermeer studies reflects a respectful intellect whose disposition inevitably led him from cavalier lark all the way to masterly art.

“Vermeer Studies: the Art of Painting” will continue through October 17 at WSG Gallery, 306 South Main Street. Gallery hours are noon to 6 p.m., Tuesday-Wednesday; noon to 10 p.m., Thursday-Saturday; and noon to 5 p.m., Sunday. For information, call 734-761-2287.

John Carlos Cantú is a free-lance writer who reviews art for AnnArbor.com.