العربية
中国
Français
Deutsch
Ελληνική
हिन्दी
Italiano
日本語
Português
Русский
EspañolPHOTOREALISM
'Photorealism' is the genre of painting based on making a painting of a photograph, recently seen in a splinter hyperrealism art movement. However, the term is primarily applied to paintings from the American photorealism art movement of the late 1960s and early 1970s.
| Contents |
| Style and History |
| Artists |
| Photorealism at the Millennium |
| List of Photorealists |
| Original photorealists |
| Photorealists |
| References |
| Notes |
| General References |
| External links |
Style and History
As a full-fledged art movement, Photorealism evolved from Pop Art[1][2] and as a counter to Abstract Expressionism[1][2] as well as Minimalist art movements[5][1][2] [8] in the late 1960s and early 1970s in America.[8] It is also sometimes wrongly labeled as Super-Realism, New Realism, Sharp Focus Realism or Hyper-Realism.[10] The Photorealist genre is predominately made up of painters. The word ''Photorealism'' was coined by Louis K. Meisel in 1968 and appeared in print for the first time in 1970 in a Whitney Museum catalogue for the show "Twenty-two Realists."[11]
Louis K. Meisel, two years later, developed a five-point definition at the request of Stuart M. Speiser, who had commissioned a large collection of works by the Photorealists, which later developed into a traveling show known as "Photo-Realism 1973: The Stuart M. Speiser Collection, which was donated to the Smithsonian in 1978 and is shown in several of its museums as well as traveling under the auspices of SITE."[11] The definition was as follows:
1. The Photo-Realist uses the camera and photograph to gather information.
2. The Photo-Realist uses a mechanical or semimechanical means to transfer the information to the canvas.
3. The Photo-Realist must have the technical ability to make the finished work appear photographic.
4. The artist must have exhibited work as a Photo-Realist by 1972 to be considered one of the central Photo-Realists.
5. The artist must have devoted at least five years to the development and exhibition of Photo-Realist work.[13]
Photorealist painting cannot exist without the photograph. In Photorealism, change and movement must be frozen in time which must then be accurately represented by the artist.[13] Photorealists gather their imagery and information with the camera and photograph. Once the photograph is developed (usually onto a photographic slide) the artist will systematically transfer the image from the photographic slide onto canvases. This is done by either projecting the slide or grid techniques.[15] The resulting images are often direct copies of the original photograph but are usually larger than the original photograph or slide. This results in the photorealist style being tight and precise, often with an emphasis on imagery that requires a high level of technical prowess and virtuosity to simulate, such as reflections in specular surfaces and the geometric rigor of man-made environs.[16]
20th century photorealism can be contrasted with the similarly literal style found in ''trompe l'oeil'' paintings of the 19th century. However, ''trompe l'oeil'' paintings tended to be carefully designed, very shallow-space still-lifes, employing illusionistic devices such as the use of shadows to cause small objects to appear to exist above the surface of the painting. (''Trompe l'oeil'' literally means "fool the eye.") The photorealism movement moved beyond this illusionism to tackle deeper spatial representations (e.g. urban landscapes) and took on much more varied and dynamic subject matter.
Artists
The first generation of American photorealists includes such painters as Richard Estes, Ralph Goings, Chuck Close, Charles Bell, John Baeder, Audrey Flack, Don Eddy, Robert Bechtle, Tom Blackwell, and Richard McLean. Duane Hanson and John DeAndrea were the sculptors associated with photorealism famous for amazingly lifelike painted sculptures of average people that were complete with simulated hair and real clothes. They were called Verists. Often working independently of each other and with widely different starting points, photorealists routinely tackled mundane or familiar subjects in traditional art genres--landscapes (mostly urban rather than naturalistic), portraits, and still lifes. They essentially evolved from Pop art and carried Pop Art's return to imagery to its ultimate possibilities.
Photorealism at the Millennium
The height of the original photorealism movement was in the mid-1970s but the early 1990s saw a re-birth of interest in the genre. This renewed interest included original artists from the "first generation" as well as many younger photorealists. The evolution of photorealism brought an emergence of an advanced form of photorealistic painting. With the new technology in cameras and digital equipment the younger artists were able to be far more precision oriented than their elders. Many of the new brilliant Photorealists are European. They include Raphaella Spence who is British but living in Italy, Bertrand Meniel in France, Roberto Bernardi and Bernardo Torrens in Madrid, Spain, Tony Brunelli in New York and Clive Head in Britain. Although the original American tradition of Photorealism is a frame of reference for the artists, they incorporate more detailed references in their work by use of better technology. Richard Estes, Ralph Goings, Charles Bell, Robert Bechtle and Audrey Flack historically though are the originators. Many of the new and European Photorealists are building upon the foundation set by the original photorealists and the likenesses of their predecessors can be seen in such works by photorealists Clive Head, Glennray Tutor, Kim Mendenhall, Raphaella Spence, and Bertrand Meniel.
List of Photorealists
Original photorealists
★ Robert Bechtle ★ Charles Bell ★ Tom Blackwell ★ Chuck Close ★ Robert Cottingham ★ Don Eddy | ★ Richard Estes ★ Audrey Flack ★ Ralph Goings ★ Ron Kleemann ★ Richard McLean ★ John Salt ★ Ben Schonzeit |
Photorealists
References
Notes
1. Chase, Linda, Photorealism at the Millenium, ''The Not-So-Innocent Eye: Photorealism in Context.'' Harry N. Abrams, Inc. New York, 2002. pp 14-15.
2. Nochlin, Linda, The Realist Criminal and the Abstract Law II, ''Art In America.'' 61 (November - December 1973), P. 98.
3. Chase, Linda, Photorealism at the Millenium, ''The Not-So-Innocent Eye: Photorealism in Context.'' Harry N. Abrams, Inc. New York, 2002. pp 14-15.
4. Nochlin, Linda, The Realist Criminal and the Abstract Law II, ''Art In America.'' 61 (November - December 1973), P. 98.
5. Fleming, John and Honour, Hugh ''The Visual Arts: A History,'' 3rd Edition. Harry N. Abrams, Inc. New York, 1991. p. 709
6. Chase, Linda, Photorealism at the Millenium, ''The Not-So-Innocent Eye: Photorealism in Context.'' Harry N. Abrams, Inc. New York, 2002. pp 14-15.
7. Nochlin, Linda, The Realist Criminal and the Abstract Law II, ''Art In America.'' 61 (November - December 1973), P. 98.
8. Battock, Gregory. Preface to ''Photorealism''. Harry N. Abrams, Inc., Publishers, New York, 1980. pp 8-10.
9. Battock, Gregory. Preface to ''Photorealism''. Harry N. Abrams, Inc., Publishers, New York, 1980. pp 8-10.
10. Meisel, Louis K. ''Photorealism''. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 12.
11. Meisel, Louis K. ''Photorealism''. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 12.
12. Meisel, Louis K. ''Photorealism''. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 12.
13. Meisel, Louis K. ''Photorealism''. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 13.
14. Meisel, Louis K. ''Photorealism''. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 13.
15. Meisel, Louis K. ''Photorealism''. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 14.
16. Meisel, Louis K. ''Photorealism''. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 15.
General References
★ ''Photorealism'' by Louis K. Meisel. Abradale/Abrams, New York, NY, (1989). ISBN 978-0810980921
★ ''Photorealism Since 1980'' by Louis K. Meisel. Harry N. Abrams, New York, NY, (1993). ISBN 978-0810937208
★ ''Photorealism at the Millennium'' by Louis K. Meisel and Linda Chase. Harry N. Abrams, New York, NY, (2002). ISBN 978-0810934832
★ ''Charles Bell: The Complete Works, 1970-1990 by Henry Geldzahler, Louis K. Meisel,Abrams New York, NY(1991).
★ ''Richard Estes: The Complete Paintings, 1966-1985 by Louis K. Meisel, John Perreault, Abrams New York, NY (1986).
★ ''Richard Estes'' by John Wilmerding. Rizzoli, New York, NY, (2006). ISBN 978-0847828074
★ ''Robert Bechtle: A Retrospective'' by Michael Auping, Janet Bishop, Charles Ray, and Jonathan Weinberg. University of California Press, Berkeley, CA, (2005). ISBN 978-0520245433
★ ''Ralph Goings: Essay/Interview'' by Linda Chase. Harry N. Abrams, New York, NY, (1988). ISBN 978-0810910300
External links
★ Louis K. Meisel Gallery
★ Chuck Close Online
★ Audrey Flack's website
★ Ralph Goings' website
★ Richard Estes information
★ Clive Head
★ Indian Photorealism
This article provided by Wikipedia. To edit the contents of this article, click here for original source.
psst.. try this: add to faves
