Photorealism 1

Photorealism
Photorealism is the genre of painting based
on using the camera and photographs to
gather information and then from this
information, creating a painting that appears
to be very realistic like a photograph. The
term is primarily applied to paintings from
the United States art movement that began
in the late 1960s and early 1970s.

History

Origins John's Diner with John's Chevelle, 2007

John Baeder, oil on canvas, 3048 inches.
As a full-fledged art movement,
Photorealism evolved from Pop Art[1] [2] [3] and as a counter to Abstract Expressionism[2] [4] as well as Minimalist
art movements[2] [4] [5] [6] in the late 1960s and early 1970s in the United States.[6] 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.[7] However, the blatant admittance to the use of photographs in
Photorealism was met with intense criticism when the movement began to gain momentum in the late 1960s,[8]
despite the fact that visual devices had been used since the fifteenth century to aid artists with their work.[9]

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
aidhowever, they went to great lengths to deny the fact fearing that their work would be misunderstood as
imitations;[9] and through the photograph's invention artists were open to a great deal of new experimentation.[10]
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.[7]
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.[11] Realism continued as an on-going art
movement, even experiencing a reemergence in the 1930s, but by the 1950s modernist critics and Abstract
Expressionism had all but minimalized realism as a serious art undertaking.[7] [12] 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.[12] Photorealists were much more influenced by the work of Pop artists
and were reacting against Abstract Expressionism.[13]
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.[1] [14] [15] 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.[14] [15]
The association of Photorealism to Trompe L'oeil is a wrongly attributed comparison, an error in observation or
interpretation made by many critics of the 1970s and 1980s.[12] [16] Trompe L'oeil 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.[7] [12]
Photorealism 2

Definition
The word Photorealism was coined by Louis K. Meisel[17] in 1969 and appeared in print for the first time in 1970 in
a Whitney Museum catalogue for the show "Twenty-two Realists."[18] It is also sometimes labeled as Super-Realism,
New Realism, Sharp Focus Realism, or Hyper-Realism.[19]
Louis K. Meisel,[20] 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.[18] 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 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.[21]

Style
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.[21] 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.[22] 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.[23]

Artists
The first generation of American
photorealists includes such painters as
Richard Estes, Ralph Goings, Chuck
Close, Charles Bell, Audrey Flack,
Don Eddy, Robert Bechtle, and Tom
Blackwell.[24] 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),
Ralph's Diner (1982), Oil on canvas. Example of photorealist Ralph Goings' work.
portraits, and still lifes.[24]

Though the movement is primarily associated with painting, Duane Hanson and John DeAndrea are sculptors
associated with photorealism for their painted, life-like sculptures of average people that were complete with
simulated hair and real clothes. They are called Verists.[24]
Photorealism 3

Since 2000
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's Photorealism at the Millennium, only
eight of the original photorealists were still creating photorealist work in 2002;[25] nine including Howard Kanovitz.
Artists Charles Bell, John Kacere, and Howard Kanovitz have died; Audrey Flack, Chuck Close, and Don Eddy have
moved in different directions other than 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, and the artist Clive Head
now actively disassociates himself from the
term, even though he has been closely
associated with photorealism in the past.[26]

Photorealism is also no longer mainly an

American art movement. Starting with Franz
Gertsch in the 1980s Clive Head, Raphaella
Spence, Bertrand Meniel, and Roberto
Bernardi are several European photorealists
that have emerged since the mid-1990s.[7]
[27] Dream of Love (2006), Oil on canvas. Example of Photorealist Glennray Tutor's
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."[7] With new technology in cameras and digital equipment,
artists are able to be far more precision-oriented.

List of Photorealists

Original Photorealists
Significant artists whose work helped define Photorealism:
Photorealism 4

[24] [24]
Robert Bechtle Ralph Goings
[24] [28] [29]
Charles Bell Howard Kanovitz
[24] [24]
Tom Blackwell John Kacere
[24] [24]
Chuck Close Ron Kleemann
[24] [24]
Robert Cottingham Malcolm Morley
[24] [24]
Don Eddy David Parrish
[24] [24]
Richard Estes John Salt
[24] [24]
Audrey Flack Ben Schonzeit

Photorealists
Significant artists whose work meets the criteria of Photorealism:

[27] [30] [24]

Linda Bacon Gottfried Helnwein Jerry Ott
[24] [27] [31] [27] [31] [27]
John Baeder Don Jacot Rod Penner
Roberto Bernardi [32] [33] [34]
Charles Jarboe Denis Peterson
[24] [24] [35]
Arne Besser Noel Mahaffey Cesar Santander
[27] [27] Raphaella Spence
Anthony Brunelli Dennis James Martin
[24] [24] [27] [31] [36]
Hilo Chen Jack Mendenhall Robert Standish
[27] [31] [27] [37] [38]
Davis Cone Kim Mendenhall Paul Staiger
[27] [31] [27] Bernardo Torrens
Randy Dudley Betrand Meniel
[27] [31] [27] [31] [39] [40]
Franz Gertsch Reynard Milici Glennray Tutor
[27] [31] [41] [24]
Robert Gniewek Robert Neffson Idelle Weber
[27] [31]
Gus Heinze

Post-Photorealists
Clive Head

References

Notes
[1] Lindey, Christine Superrealist Painting and Sculpture, William Morrow and Company, New York, 1980, pp. 27-33.
[2] Chase, Linda, Photorealism at the Millennium, The Not-So-Innocent Eye: Photorealism in Context. Harry N. Abrams, Inc. New York, 2002.
pp 14-15.
[3] Nochlin, Linda, The Realist Criminal and the Abstract Law II, Art In America. 61 (November - December 1973), P. 98.
[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] Battock, Gregory. Preface to Photorealism. Harry N. Abrams, Inc., Publishers, New York, 1980. pp 8-10.
[7] Chase, Linda, Photorealism at the Millennium, The Not-So-Innocent Eye: Photorealism in Context. Harry N. Abrams, Inc. New York, 2002.
[8] Chase, Linda. Photorealism at the Millennium: The Not-So-Innocent Eye: Photorealism in Context Harry N. Abrams, New York, 2002, pp
11-12.
[9] Scharf, Aaron. Art and Photography Penguin Press, Baltimore, 1969.
[10] Chase, Linda. Photorealism at the Millennium The Not-So-Innocent Eye: Photorealism in Context. Harry N. Abrams, New York, 2002, pp
11-14.
[11] Chase, pp. 12-14
[12] Lindey, Christine Superrealist Painting and Sculpture, William Morrow and Company, New York, 1980, p. 12.
Photorealism 5

[13] Lindey, Christine Superrealist Painting and Sculpture, William Morrow and Company, New York, 1980, p. 23.
[14] Chase, p. 14
[15] Prown, Jules David and Rose, Barbara, American Painting: From the Colonial Period to the Present, Rizzoli, New York, 1977.
[16] Fleming, John and Honour, Hugh The Visual Arts: A History, 3rd ed. Harry N. Abrams, 1991 p. 709.
[17] Meiselgallery.com (http:/ / www. meiselgallery. com/ )
[18] Meisel, Louis K. Photorealism. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 12.
[19] Meisel, Louis K. Photorealism. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 12.
[20] Meiselgallery.com (http:/ / www. meiselgallery. com/ )
[21] Meisel, Louis K. Photorealism. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 13.
[22] Meisel, Louis K. Photorealism. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 14.
[23] Meisel, Louis K. Photorealism. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 15.
[24] Meisel, Louis K. Photorealism. Harry N. Abrams, Inc., Publishers, New York. 1980.
[25] Meisel, Louis K. Photorealism at the Millennium. Harry N. Abrams, New York, 2002, p. 8.
[26] See Michael Paraskos, Clive Head (London: Lund Humphries, 2010) passim
[27] Meisel, Louis K. Photorealism at the Millennium. Harry N. Abrams, Inc. New York, 2002.
[28] The New York Times Howard Kanovitz, Pioneer of Photorealism Dies. (http:/ / www. nytimes. com/ 2009/ 02/ 09/ arts/ design/ 09kanovitz.
html)
[29] East Hampton Star (http:/ / www. easthamptonstar. com/ dnn/ Obituaries/ tabid/ 7836/ Default. aspx)
[30] Harry S. Parker III, The Child-Works by Gottfried Helnwein, Fine Arts Museums of San Francisco, 2004.
[31] Meisel, Louis K. Photorealism Since 1980. Harry N. Abrams, Inc. New York, 1993.
[32] Charles Jarboe Bernaducci & Meisel Galleries (http:/ / www. bernarduccimeisel. com/ artist/ bio. php?aid=12)
[33] Joshua Rose, Beyond Perception, American Art Collector Magazine, November 2008 p. 154-158
[34] Thompson, Graham: American Culture in the 1980s (Twentieth Century American Culture) Edinburgh Press, 2007
[35] Taylor, John Russell. Exactitude: Hyperrealist Art Today. Thames & Hudson, 2009.
[36] Newton, Matthew. JUXTAPOZ, Los Angeles-bred Photorealist Robert Standish manipulates reality with the strokes of his brush. March, p.
112-122.
[37] Kulteremann, Udo. New Realism, NY Graphic Society, New York, 1976.
[38] Lindey, Christine. Superrealist Painting and Sculpture, Orbis Publishers, 1980.
[39] Pill, Steve. Photorealism Artists and Illustrators Magazine, London, United Kingdom, December, 2007, Issue Number 255.
[40] Gibson, Eric. Outward Bound: Contemporary American Art. Stinehour Press Publishers, Lunenburg, VT, 1999.
[41] Taylor, John Russell. Exactitude: Hyperrealist Art Today, Gallery Catalogue, April 2009.

General References
Photorealism by Louis K. Meisel. Abradale/Abrams, New York, NY, (1989). ISBN 978-0 810980921
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
Photorealism: The Liff Collection edited by Linda Chase. Naples Museum of Art, Naples, FL, (2001). ISBN
978-0970515810
Charles Bell: The Complete Works, 1970-1990 by Henry Geldzahler, Louis K. Meisel, Abrams New York, NY,
(1991). ISBN 978-0810931141
Richard Estes: The Complete Paintings, 1966-1985 by Louis K. Meisel, John Perreault, Abrams New York, NY,
(1986). ISBN 978-0810908816
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
Peinture et Photographie by Jean-Luc Chalumeau. Chne, Paris, (2007). ISBN 978-284277731X
Clive Head by Michael Paraskos (London: Lund Humphries, 2010) ISBN 978-1848220621
Article Sources and Contributors 6

Article Sources and Contributors

Photorealism Source: http://en.wikipedia.org/w/index.php?oldid=431048627 Contributors: 12dstring, 16@r, 555adl, Ablebakerus, Acryliconpaper, Ahoerstemeier, Airartiste, Alma Pater,
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Image Sources, Licenses and Contributors

Image:John's Diner by John Baeder.jpg Source: http://en.wikipedia.org/w/index.php?title=File:John's_Diner_by_John_Baeder.jpg License: Creative Commons Attribution-Sharealike 3.0
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Image:Ralph Goings.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Ralph_Goings.jpg License: Fair use Contributors: User:Zachiroth
Image:Glennray Tutor 1.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Glennray_Tutor_1.jpg License: Fair use Contributors: User:Zachiroth

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