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Photorealism

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File:John's Diner by John Baeder.jpg
John's Diner with John's Chevelle, 2007
John Baeder, oil on canvas, 30×48 inches

Photorealism is a genre of art that encompasses painting, drawing and other graphic media, in which an artist studies a photograph and then attempts to reproduce the image as realistically as possible in another medium. Although the term can be used broadly to describe artworks in many different media, it is also used to refer to a specific art movement of American painters that began in the late 1960s and early 1970s.

HistoryEdit

OriginsEdit

As a full-fledged art movement, Photorealism evolved from Pop Art<ref name="Supperrealist Pop Art">Lindey (1980), pp. 27–33.</ref><ref name="Chase, Linda 2002. pp 14-15">Meisel and Chase (2002), pp. 14–15.</ref><ref name=nochlin>Nochlin, Linda, "The Realist Criminal and the Abstract Law II", Art In America. 61 (November–December 1973), p. 98.</ref> and as a counter to Abstract Expressionism<ref name="Chase, Linda 2002. pp 14-15"/><ref name=nochlin /> as well as Minimalist art movements<ref name="Chase, Linda 2002. pp 14-15"/><ref name=nochlin /><ref name=fleming709 /><ref name="Battock, Gregory 1980. pp 8-10">Battock, Gregory. Preface to Meisel, Louis K. (1980), Photorealism. New York:Abrams. pp. 8–10</ref> in the late 1960s and early 1970s in the United States.<ref name="Battock, Gregory 1980. pp 8-10"/> Photorealists use a photograph or several photographs to gather the information to create their paintings and it can be argued that the use of a camera and photographs is an acceptance of Modernism.<ref name="Chase, Linda 2002"/> However, the admittance to the use of photographs in Photorealism was met with intense criticism when the movement began to gain momentum in the late 1960s,<ref>Meisel and Chase (2002), pp. 11–12.</ref> despite the fact that visual devices had been used since the fifteenth century to aid artists with their work.<ref name="Scharf, Aaron">Scharf, Aaron (1969), Art and Photography Baltimore: Allan Lane, The Penguin Press.</ref>

Louis K. Meisel states in his books and lectures the following: The invention of photography in the nineteenth century had three effects on art: portrait and scenic artists were deemed inferior to the photograph and many turned to photography as careers; within nineteenth- and twentieth-century art movements it is well documented that artists used the photograph as source material and as an aid—however, they went to great lengths to deny the fact fearing that their work would be misunderstood as imitations;<ref name="Scharf, Aaron"/> and through the photograph's invention artists were open to a great deal of new experimentation.<ref>Meisel and Chase (2002), pp. 11–14.</ref> Thus, the culmination of the invention of the photograph was a break in art's history towards the challenge facing the artist—since the earliest known cave drawings—trying to replicate the scenes they viewed.<ref name="Chase, Linda 2002"/>

By the time the Photorealists began producing their bodies of work the photograph had become the leading means of reproducing reality and abstraction was the focus of the art world.<ref>Chase, pp. 12–14.</ref> Realism continued as an ongoing art movement, even experiencing a reemergence in the 1930s, but by the 1950s modernist critics and Abstract Expressionism had minimalized realism as a serious art undertaking.<ref name="Chase, Linda 2002"/><ref name="Superrealist 1"/> Though Photorealists share some aspects of American realists, such as Edward Hopper, they tried to set themselves as much apart from traditional realists as they did Abstract Expressionists.<ref name="Superrealist 1">Lindey (1980), p. 12.</ref> Photorealists were much more influenced by the work of Pop artists and were reacting against Abstract Expressionism.<ref>Lindey (1980), p. 23.</ref>

Pop Art and photorealism were both reactionary movements stemming from the ever-increasing and overwhelming abundance of photographic media, which by the mid 20th century had grown into such a massive phenomenon that it was threatening to lessen the value of imagery in art.<ref name="Supperrealist Pop Art"/><ref name="Chase, p. 14">Chase, p. 14.</ref><ref name="Prown 1977">Prown, Jules David and Rose, Barbara (1977), American Painting: From the Colonial Period to the Present. New York:Rizzoli. Template:ISBN</ref> However, whereas the Pop artists were primarily pointing out the absurdity of much of the imagery (especially in commercial usage), the Photorealists were trying to reclaim and exalt the value of an image.<ref name="Chase, p. 14"/><ref name="Prown 1977"/>

The association of photorealism with trompe-l'œil is a wrongly attributed comparison, an error in observation or interpretation made by many critics of the 1970s and 1980s.<ref name="Superrealist 1"/><ref name=fleming709>Fleming, John and Honour, Hugh (1991), The Visual Arts: A History, 3rd Edition. New York: Abrams. p. 709. Template:ISBN.</ref> Trompe-l'œil paintings attempt to "fool the eye" and make the viewer think he is seeing an actual object, not a painted one. When observing a Photorealist painting, the viewer is always aware that they are looking at a painting.<ref name="Chase, Linda 2002"/><ref name="Superrealist 1"/>

DefinitionEdit

The word Photorealism was coined by Louis K. Meisel<ref name="meiselgallery1">Meiselgallery.com</ref> in 1969 and appeared in print for the first time in 1970 in a Whitney Museum catalogue for the show "Twenty-two Realists".<ref name="Meisel, Louis K. 1980. p. 12">Meisel (1989), p. 12.</ref> It is also sometimes labeled as Super-Realism, New Realism, Sharp Focus Realism, or hyperrealism.<ref name="Meisel, Louis K. 1980. p. 12" />

Louis K. Meisel,<ref name="meiselgallery1"/> 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 Institution in 1978 and is shown in several of its museums as well as traveling under the auspices of 'site'.<ref name="Meisel, Louis K. 1980. p. 12"/> The definition for the 'originators' was as follows:

  1. The Photo-Realist uses the camera and photograph to gather information.
  2. The Photo-Realist uses a mechanical or semi-mechanical 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.<ref name="Meisel, Louis K. 1980. p. 13">Meisel (1980), p. 13.</ref>

StylesEdit

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.<ref name="Meisel, Louis K. 1980. p. 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. Usually this is done either by projecting the slide onto the canvas or by using traditional grid techniques.<ref>Meisel (1980), p. 14.</ref> 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.<ref>Meisel (1980), p. 15.</ref>

ArtistsEdit

The first generation of American Photorealists includes the painters Richard Estes, Ralph Goings, Chuck Close, Charles Bell, Audrey Flack, Don Eddy, Denis Peterson, Robert Bechtle, Ron Kleemann, Richard McLean, John Salt, Template:Ill, and Tom Blackwell.<ref name="Meisel, Louis K. 1980">Meisel (1980)</ref> Often working independently of each other and with widely different starting points, these original Photorealists routinely tackled mundane or familiar subjects in traditional art genres--landscapes (mostly urban rather than naturalistic), portraits, and still lifes.<ref name="Meisel, Louis K. 1980"/>

With the birth of the Photorealist movement, many painters who were related to Photorealism, continued to pursue and refine their techniques; they became the second generation of Photorealists. These painters included John Baeder, Hilo Chen, Jack Mendenhall, Ken Marschall, David Parrish and Idelle Weber.<ref name="Meisel, Louis K. 1980" />

In the United Kingdom of Great Britain and Northern Ireland, photorealist approaches were favoured by many artists including Mike Gorman and Eric Scott. The introduction of these European painters to a wider US audience was brought about through the 1982 'Superhumanism' exhibition at the Arnold Katzen Gallery, New York.<ref>Wallace, Nora. (2015-10-15) "Photorealism - Technical Mastery and Effortless Style" On My Wall</ref>

Though the movement is primarily associated with painting, Duane Hanson and John DeAndrea are sculptors associated with photorealism for their painted, lifelike sculptures of average people that were complete with simulated hair and real clothes. They are called Verists.<ref name="Meisel, Louis K. 1980" />

Since 2000Edit

File:Glennray Tutor 1.jpg
Dream of Love (2005), oil on canvas. Example of Photorealist Glennray Tutor's work

Though the height of Photorealism was in the 1970s, the movement continues and includes several of the original photorealists as well as many of their contemporaries. According to Meisel and Chase's Photorealism at the Millennium, only eight of the original thirteen photorealists were still creating Photorealist work in 2002.<ref>Meisel and Chase (2002), p. 8.</ref> As of September 2020, Richard Estes is the only remaining original Photorealist actively working in the Photorealist style.

Artists Robert Bechtle, Charles Bell, Tom Blackwell, Ralph Goings, John Kacere, Ron Kleemann have died; Audrey Flack, Chuck Close, Don Eddy, and Template:Ill have moved away from Photorealism; and Robert Cottingham no longer considers himself a photorealist.

Newer Photorealists are building upon the foundations set by the original Photorealists. Examples would be the influence of Richard Estes in works by Anthony Brunelli or the influence of Ralph Goings and Charles Bell in works by Glennray Tutor. However, this has led many to move on from the strict definition of photorealism as the emulation of the photograph. Photorealism is also no longer simply an American art movement. Starting with Franz Gertsch in the 1980s Clive Head, Raphaella Spence, Bertrand Meniel, and Roberto Bernardi are several European artists associated with photorealism that have emerged since the mid-1990s.<ref name="Chase, Linda 2002"/><ref name="Meisel, Millennium"/> This internationalization of photorealism is also seen in photorealist events, such as The Prague Project, in which American and non-American photorealist painters have traveled together to locations including Prague, Zurich, Monaco and New York, to work alongside each other in producing work.

The evolution of technology has brought forth photorealistic paintings that exceed what was thought possible with paintings; these newer paintings by the photorealists are sometimes referred to as "Hyperrealism".<ref name="Chase, Linda 2002">Meisel and Chase (2002)</ref> With new technology in cameras and digital equipment, artists are able to be far more precision-oriented and can produce imagery using a wider range of media. The artist Bill Fink has developed his own technique for creating photorealistic images using soil, pollen, human hair, and cremated human remains.<ref name=advocate>Template:Cite magazine</ref>

Photorealism's influence and popularity continues to grow, with new books such as Juxtapoz's 2014 book entitled Hyperreal detailing current trends within the artistic genre.

List of photorealistsEdit

Original photorealists

Significant artists whose work helped define Photorealism: Template:Div col

  • John Baeder (born 1938)<ref name="Meisel, Louis K. 1980"/>
  • Robert Bechtle (1932–2020)<ref name="Meisel, Louis K. 1980"/>
  • Charles Bell (1935–1995)<ref name="Meisel, Louis K. 1980"/>
  • Tom Blackwell (1938–2020)<ref name="Meisel, Louis K. 1980"/>
  • Chuck Close (1940–2021)<ref name="Meisel, Louis K. 1980"/>
  • Robert Cottingham (born 1935)<ref name="Meisel, Louis K. 1980"/>
  • Don Eddy (born 1944)<ref name="Meisel, Louis K. 1980"/>
  • Richard Estes (born 1932)<ref name="Meisel, Louis K. 1980"/>
  • Audrey Flack (1931–2024)<ref name="Meisel, Louis K. 1980"/>
  • Ralph Goings (1928–2016)<ref name="Meisel, Louis K. 1980"/>
  • Denis Peterson (born 1944)<ref>Rose, Joshua (November 2008), "Beyond Perception" American Art Collector Magazine, pp. 154–158.</ref><ref name="Thompson, Graham">Thompson, Graham (2007), American Culture in the 1980s (Twentieth Century American Culture) Edinburgh Press</ref>
  • Ian Hornak (1944–2002)<ref>Phillips, Stephen Bennett and Spoutz, Eric Ian Hornak (2012), "Ian Hornak Transparent Barricades," exhibition catalogue, Washington D.C.: Board of Governors of the Federal Reserve System, Fine Art Program. p. 28.</ref><ref>Adan, Joan and Spoutz, Eric Ian Hornak (May 2012), "Transparent Barricades: Ian Hornak, A Retrospective," exhibition catalogue, Glendale, California: Forest Lawn Museum. pp. 1–3.</ref>
  • Howard Kanovitz (1929–2009)<ref>Weber, Bruce (2009-02-02) "Howard Kanovitz, Pioneer of Photorealism Dies" The New York Times</ref>
  • John Kacere (1920–1999)<ref name="Meisel, Louis K. 1980"/>
  • Ron Kleemann (1937–2014)<ref name="Meisel, Louis K. 1980"/>
  • Malcolm Morley (1931–2018)<ref name="Meisel, Louis K. 1980"/>
  • John Salt (1937–2021)<ref name="Meisel, Louis K. 1980"/>
  • Ben Schonzeit (born 1942)<ref name="Meisel, Louis K. 1980"/>

Template:Div col end

Photorealists

Significant artists whose work meets the criteria of Photorealism:

Template:Div colTemplate:Div col end

  • Linda Bacon (born 1942)<ref name="Meisel, Millennium">Meisel (2002)</ref>
  • Mike Bayne (born 1977)<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

  • Roberto Bernardi (born 1974)<ref>Herbert F. Johnson Museum of Art (2004), Cars and Ketchup, Photorealist Images of the American Landscape. Ithaca, New York:Cornell University</ref><ref>Erikson, Matthew (2004-07-25) "Slight of Eye: New Britain Museum features Trompe L'oeil paintings, a genre based on trickery". Hartford Courant</ref><ref>New Photorealists, Louis K. Meisel Gallery, New York 2004.</ref>
  • Arne Besser (1935–2012)<ref name="Meisel, Louis K. 1980"/>
  • Anthony Brunelli (born 1968)<ref name="Meisel, Millennium"/>
  • Bryan Charnley (1949–1991)
  • Hilo Chen (born 1942)<ref name="Meisel, Louis K. 1980"/>
  • Davis Cone (born 1950)<ref name="Meisel, Millennium"/><ref name="Meisel, P.S. 1980">Meisel (1993)</ref>
  • Randy Dudley (born 1950)<ref name="Meisel, Millennium"/><ref name="Meisel, P.S. 1980"/>
  • Martin Gale (born 1949)<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

  • Franz Gertsch (1930–2022)<ref name="Meisel, Millennium"/><ref name="Meisel, P.S. 1980"/>
  • Robert Gniewek (born 1951)<ref name="Meisel, Millennium"/><ref name="Meisel, P.S. 1980"/>
  • Gus Heinze (born 1926)<ref name="Meisel, Millennium"/><ref name="Meisel, P.S. 1980"/>
  • Gottfried Helnwein (born 1948)<ref>Parker, Harry S. Parker III (2004), The Child-Works by Gottfried Helnwein, San Francisco: Fine Arts Museums of San Francisco</ref>
  • Don Jacot (born 1949)<ref name="Meisel, Millennium"/><ref name="Meisel, P.S. 1980"/>
  • Noel Mahaffey (born 1944)<ref name="Meisel, Louis K. 1980"/>
  • Dennis James Martin (1956–2001)<ref name="Meisel, Millennium"/>
  • Jack Mendenhall (born 1937)<ref name="Meisel, Louis K. 1980"/><ref name="Meisel, Millennium"/><ref name="Meisel, P.S. 1980"/>
  • Kim Mendenhall (born 1949)<ref name="Meisel, Millennium"/>
  • Betrand Meniel (born 1961)<ref name="Meisel, Millennium"/>
  • Reynard Milici (born 1942)<ref name="Meisel, Millennium"/><ref name="Meisel, P.S. 1980"/>
  • Marilyn Minter (born 1948)
  • Robert Neffson (born 1949)<ref>Taylor, John Russell (April 2008), Exactitude: Hyperrealist Art Today (gallery catalogue)</ref>
  • William Nichols (born 1942)<ref name="Lamagna79">Lamagna, Catherine. "William A. Nichols," Arts Magazine, September 1979, p. 15.</ref>
  • Jerry Ott (born 1947)<ref name="Meisel, Louis K. 1980"/>
  • James Torlakson (born 1951)<ref name="sfmoma">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

Other photorealists
  • Clive Head (born 1965)<ref name="Meisel, Millennium"/><ref name=head>Head, Clive (2004) "Post-Photoreal Painting" in Brunelli, Anthony; Head, Clive; Menie, Bertrand Meniel; and Spence, Raphaella (2004), The Prague Project Binghamton, New York: Roberson Museum and Science Center</ref>

See alsoEdit

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BibliographyEdit

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ReferencesEdit

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Further readingEdit

External linksEdit

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