Jade Kuzak Chandler Whitted Brynna Samuels PHOTOREALISM **Ahead of time, we apologize for the background noise** ** Music: Artist - Philip Glass Title of Song - Movement I - A Musical Portrait of Chuck Close from Portraits
1. Jade Kuzak Chandler Whitted Brynna Samuels PHOTOREALISM
**Ahead of time, we apologize for the background noise** ** Music:
Artist - Philip Glass Title of Song - Movement I - A Musical
Portrait of Chuck Close from Portraits
2. Photorealism is an art movement that involves replicating
the original photo image into a painting or a sculpture
3. . . . because it challenged peoples art paradigms and it
also focused on American consumerism
4. Photorealist shared with minimalist a prediction to see art
making as a decision making process Clearly deriving from Pop Art,
but without satirical commentary Photorealism originated in the
United States in the 1960s
5. Photorealism is also connected to Modernism, the other way
around. The critics were attacking it because it was a betrayal to
the modernist principles due to its straight forward
representation. In the late 1960s, several young artists in the
United States began capturing everyday motifs from their immediate
surroundings, expressing the American way of life in large
formatting For the first time in the 1970s, photorealism was shown
in the Whitney Museum of American Art in New York
6. The recent rediscovery of the style trompe loeil,
specifically still life paintings by Peto, Harnett, and Haberle, in
the late nineteenth century as well as the photography craze helped
stimulate the emergence of photorealism as a major style in the 70s
trompe loeil deceive the eye; an art technique that uses realistic
imagery to create the optical illusion that the depicted objects
exist in three dimensions
7. Most of the photorealist were either born in or came from
New York or from California THE PHOTOREALIST WERE NOT A COHESIVE
GROUP, nor did they consider themselves part of a movement It was
not the artists intention to compete with the precision of a camera
lens but rather them being interested in the complicated
relationship between the reproduction and the reproduced
8. Photorealist want almost all of the decisions to be made
before they begin to paint to allow them to concentrate on the
technical problems of painting
9. Style involves consideration of both technique and content
Subjects have tended . . . to be drawn from images of popular
culture or an obsessive personal mythology
10. Photorealism had the same affectlessness as minimalism To
some critics, they say the context is wrong, the scale is off, and
the visual language is often blatantly photographic To be a
photorealist painter, the work should adhere strictly to the
information found in the photo
11. The subject should be found rather than arranged The artist
should not go out of their way to be pictorial
12. Change and movement must be frozen to one second of time,
which must be totally and accurately represented
13. Louis Meisel defined the characteristics that qualify an
artist as a full-fledged contributor to the photorealist movement:
The photorealist uses the camera/photographs to gather information
The photorealist uses a mechanical/semi-mechanical way to transfer
the information/picture to the canvas The photorealist must have
the technical ability to make the finished work appear photographic
The artist must have been a photorealist by 1972 to be considered
one of the central photorealist The artist must have devoted at
least 5 years to the development and exhibition of photorealist
work
14. Louis Meisel defined the characteristics that qualify an
artist as a full-fledge contributor to the photorealist movement:
The photorealist uses the camera/photographs to gather information
The photorealist uses a mechanical/semi-mechanical way to transfer
the information/picture to the canvas The photorealist must have
the technical ability to make the finished work appear photographic
The artist must have been a photorealist by 1972 to be considered
one of the central photorealist The artist must have devoted at
least 5 years to the development and exhibition of photorealist
work
15. Louis Meisel defined the characteristics that qualify an
artist as a full-fledge contributor to the photorealist movement:
The photorealist uses the camera/photographs to gather information
The photorealist uses a mechanical/semi-mechanical way to transfer
the information/picture to the canvas The photorealist must have
the technical ability to make the finished work appear photographic
The artist must have been a photorealist by 1972 to be considered
one of the central photorealist The artist must have devoted at
least 5 years to the development and exhibition of photorealist
work
16. Traditional bristle brush There are mainly two tools used
by photorealist to paint on canvases: Airbrush An airbrush is a
very refined and controllable spray gun
17. From the critics eyes, they were full of imagination, and
according to them, photorealism was not art, but masterful copying
Photorealist have grown from and added to this legacy of freedom in
several important ways most notable being in the use of the
photograph The artist avoided conscious expressiveness The work of
photorealist was noteworthy for its highly polished, seamless
illusionism, commonplace, and even banal subject matter
18. Photorealists ability to address the century- old issue of
painting and photography influenced generations of artists The
photorealists were looking for a method of reapproaching realist
painting in a contemporary fashion/way A photo offered a method of
capturing a subject that is fixed in a moment of time HOWEVER, the
use of a photo inevitably altered the way the subject was
painted
19. DON EDDY
20. Don Eddy is better known as a spiritual realist Typical for
Eddy to find the abstraction in representation He distorts and
messes with all-American appearances Eddy does aesthetic violence
to appearances, making them more exciting and seductive than they
ordinarily were Eddy represents external physical reality in a
straightforward, descriptive way
21. Eddy creates higher meaning where there is none Eddys space
is the solid object as well as the space that is the void around it
He has dematerialized and de-realized this slice of everyday
reality by making it abstract
22. Uses cheap toys/stuff because: This is what he grew up with
Buying upscale would be a betrayal of his core self as well class
identity Suggest the objects in his painting are more important
than the art itself His father owned a garage, where teenage Eddy
performed custom paint jobs on cars with the airbrush This is how
he became aware of the surfaces of the automobile and why airbrush
is his natural tool
23. His paintings include precision in which he creates his
surfaces When you think or see an Eddy painting, think of a Chinese
take-out box
24. BUMPER SECTION XIII (1970)
25. PRIVATE PARKING I (1971) PRIVATE PARKING IV (1971) PRIVATE
PARKING X (1971) WRECKING YARD II (1971)
26. CHUCK CLOSE
27. Diagnosed with prosopagnosia (face blindness) and cannot
recognize faces His reason for painting portraits Chuck liked to
take his time creating his paintings, which would lead to abstract
color applications He is so good, a full page reproduction in an
art book of The Big Self Portrait still cannot be distinguished
from a photograph Described himself as an artist looking for
trouble over his of 30 years as a photorealist
28. Placed artificial restrictions upon himself before his
paralysis Adopted materials and techniques not friendly to
photorealist for achieving the photorealist effect He abandoned his
paintbrush and used (mainly) random objects: airbrush, razor
blades, a piece of rubber mounted on a power drill Wanted to push
his practice in new directions and force artistic
breakthroughs
29. December 7th, 1988, Close experienced a seizure that left
him paralyzed from the neck down Chose to call that day the event
After 8 months, he strengthened enough muscles to allow him to
paint with a brush taped to his wrist After the event, he continued
to create large-scale portraits using the grid system From afar,
these paintings still give the impression of a painting, just in a
more pixelated way From up close, each square is an individual pool
of color and shapes contrasting with the background
30. Closes dependence on the grid-system is as a metaphor for
his analytical processes, which suggest the whole is rarely more or
less than the sum of its parts
31. BIG NUDE (1967)
32. THE BIG SELF-PORTRAIT (1967-1968)
33. SELF-PORTRAIT (1997)
34. RICHARD ESTES
35. Paid close detail to reflective surfaces Paints highly
reflective surfaces Proposed that painting was just the
technique/finishing of the art piece In later years (2009), Estes
switched from city landscapes to more natural landscapes
36. CANADIAN CLUB (1974)
37. CANADIAN CLUB (1974)
38. BEAVER DAM POND (2009)
39. BEAVER DAM POND (2009)
40. DUANE HANSON
41. One of a couple photorealist sculptors Liked to play around
with the idea of the middle class Instead of using photographs, his
inspiration was actual people Played around with the perception of
everyday people and objects Makes a statement about human
values
42. One of a couple photorealist sculptors Liked to play around
with the idea of the middle class Instead of using photographs, his
inspiration was actual people Played around with the perception of
everyday people and objects Makes a statement about human
values
43. QUEENIE II (1988)
44. QUEENIE II (1988)
45. TOURIST II (1988)
46. SUPERMARKET SHOPPER (1970)
47. INFLUENCES ON TODAY Photorealism can look back on almost 50
years of history, yet the fascination it holds for the viewer is
still unbroken. It has consistently intensified over three
generations as the degree of sharpness in the resolution of these
works has also grown.
48. INFLUENCES ON TODAY Todays photorealists, such as Roberto
Berhardi, Clive Head, Ben Johnson, Peter Maler, Yigal Ozeri, and
Robert Neffson, are using highly modern digital technology to take
realist painting into a new dimension; their paintings naturalistic
details are so deceptive to the eye that more than ever, the viewer
doubts the reality of the art.
49. INFLUENCES ON TODAY But, works by the photorealists are
becoming exceedingly rare. Their invaluable contribution to
preserving the entire concept of craftsmanship, discipline, and
realism in art must be documented and preserved for a time in the
future when it will be openly respected once again.
50. Painting Sculpture Drawings PHOTOREALISM
51. Painting
52. Painting
53. Painting
54. Painting
55. Painting
56. Painting
57. Painting
58. Painting
59. Sculpture
60. Sculpture
61. Drawing
62. Drawing
63. Jade Kuzak Chandler Whitted Brynna Samuels PHOTOREALISM THE
END
64. Bumper Section: http://www.doneddyart.com/1967-72/ Private
Parking I: http://www.doneddyart.com/1967-72/ Private Parking IV:
http://www.meiselgallery.com/LKMG/artist/works/detail.php?wid=374&aid=13
Private Parking X: http://www.doneddyart.com/1967-72/ Wrecking Yard
II: http://www.doneddyart.com/1967-72/ Big Nude:
http://www.pacegallery.com/artists/80/chuck-close Self-Portrait:
http://www.pacegallery.com/artists/80/chuck-close The Big
Self-Portrait:
http://www.walkerart.org/collections/artworks/big-self-portrait
Canadian Club: http://www.all-art.org/art_20th_century/Estes1.html
Beaver Dam Pond:
http://americanart.si.edu/exhibitions/online/estes/art/14.cfm
Queenie II:
http://www.saatchigallery.com/artists/artpages/duane_hanson_queenie_2.htm
Supermarket Shopper:
http://artspla.over-blog.com/article-la-societe-de-consommation-duane-
hanson-71022025.html Tourist II:
http://www.saatchigallery.com/artists/artpages/duane_hanson_tourists_2.htm
Music: Artist - Philip Glass Album - Glass: A Portrait of Philip in
Twelve Parts Title of Song - Movement I - A Musical Portrait of
Chuck Close from Portraits