Photorealism denotes an artistic genre encompassing painting, drawing, and various graphic media, wherein artists meticulously study photographs to replicate images with the utmost realism in a different medium. While this term broadly characterizes diverse artistic creations, it specifically identifies an American painting movement that emerged in the late 1960s and early 1970s.
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.
History
Origins
Emerging as a distinct art movement in the United States during the late 1960s and early 1970s, Photorealism developed from Pop Art and presented a deliberate counterpoint to both Abstract Expressionism and Minimalist art movements. Practitioners of Photorealism utilize one or multiple photographs as primary sources for visual information to inform their paintings, suggesting an embrace of Modernist principles through the adoption of photographic technology. Nevertheless, the explicit acknowledgment by artists of their reliance on photographs within Photorealism encountered significant critical backlash as the movement gained prominence in the late 1960s, notwithstanding the historical precedent of artists employing various visual aids since the fifteenth century.
According to Louis K. Meisel, in his publications and presentations, the advent of photography in the nineteenth century profoundly impacted art in three principal ways: firstly, portrait and landscape artists were often perceived as inferior to photographic reproductions, leading many to pursue careers in photography; secondly, historical records from nineteenth- and twentieth-century art movements confirm that artists frequently employed photographs as source material and aids, yet they often meticulously concealed this practice, apprehensive that their creations would be misconstrued as mere imitations; and thirdly, the invention of photography opened avenues for extensive new artistic experimentation. Consequently, the development of photography marked a pivotal shift in art history, fundamentally altering the enduring challenge for artists—dating back to the earliest known cave drawings—of accurately depicting observed scenes.
When Photorealists commenced their artistic output, photography had established itself as the foremost method for rendering reality, while abstraction dominated the art world's focus. Although realism persisted as an enduring art movement, experiencing a resurgence in the 1930s, by the 1950s, modernist critics and the ascendancy of Abstract Expressionism had marginalized realism's status as a significant artistic endeavor. While Photorealists share certain characteristics with American realists, such as Edward Hopper, they consciously sought to differentiate themselves from traditional realists as much as from Abstract Expressionists. Their artistic direction was significantly shaped by the influence of Pop artists and constituted a direct response to Abstract Expressionism.
Both Pop Art and Photorealism emerged as reactionary movements, prompted by the escalating and pervasive proliferation of photographic media, which by the mid-20th century had become so ubiquitous that it posed a perceived threat to the intrinsic value of imagery in art. Nevertheless, while Pop artists predominantly highlighted the inherent absurdity within much of this imagery, particularly in commercial applications, Photorealists endeavored to reassert and elevate the inherent worth of an image.
The comparison of Photorealism with trompe-l'œil is an erroneous attribution, representing a misinterpretation or observational error frequently made by critics during the 1970s and 1980s. Trompe-l'œil artworks aim to deceive the viewer's perception, creating the illusion of a tangible object rather than a painted representation. In contrast, when engaging with a Photorealist painting, the observer consistently retains awareness of its nature as a painted artwork.
Definition
The term Photorealism was originated by Louis K. Meisel in 1969 and first appeared in published form in 1970 within a Whitney Museum catalog for the exhibition "Twenty-two Realists." This movement is also occasionally referred to by alternative designations such as Super-Realism, New Realism, Sharp Focus Realism, or Hyperrealism.
Two years subsequent to coining the term, Louis K. Meisel formulated a five-point definition at the behest of Stuart M. Speiser. Speiser had commissioned an extensive collection of Photorealist works, which subsequently evolved into a touring exhibition titled 'Photo-Realism 1973: The Stuart M. Speiser Collection.' This collection was later gifted to the Smithsonian Institution in 1978, where it is displayed in various museums and also circulates under the aegis of 'site.' The foundational definition for the movement's 'originators' stipulated the following:
- The Photo-Realist employs the camera and photograph for informational acquisition.
- A Photo-Realist employs mechanical or semi-mechanical methods to transfer visual information onto the canvas.
- Essential for a Photo-Realist is the technical proficiency to render the completed artwork with a photographic verisimilitude.
- To be recognized among the seminal Photo-Realists, an artist's work must have been exhibited under this designation by .
- Furthermore, the artist must have dedicated a minimum of five years to the creation and public display of Photo-Realist art.
Artistic Styles
Photorealist painting is fundamentally dependent on photography. Within Photorealism, transient motion and change are arrested in time, subsequently requiring precise artistic representation. Practitioners of Photorealism acquire their visual data and information primarily through cameras and photographs. After a photograph is processed, typically into a slide, the artist meticulously transfers the image from the slide onto canvases. This transfer process commonly involves either projecting the slide directly onto the canvas or utilizing conventional grid methods. The resultant artworks frequently replicate the original photograph, though they are generally scaled up. This meticulous approach yields a tight and precise photorealist aesthetic, often emphasizing subjects that demand exceptional technical skill and virtuosity to render, such as reflections on highly polished surfaces and the strict geometric forms found in urban environments.
Notable Artists
The inaugural generation of American Photorealists comprises painters such as Richard Estes, Ralph Goings, Chuck Close, Charles Bell, Audrey Flack, Don Eddy, Denis Peterson, Robert Bechtle, Ron Kleemann, Richard McLean, John Salt, Ben Schonzeit, and Tom Blackwell. These pioneering Photorealists frequently operated autonomously, approaching their craft from diverse perspectives. They commonly addressed ordinary or recognizable subjects within established artistic categories, including landscapes (predominantly urban rather than naturalistic), portraits, and still lifes.
Following the emergence of the Photorealist movement, numerous artists associated with Photorealism persisted in developing and perfecting their methodologies, thereby constituting the second generation of Photorealists. This group included John Baeder, Hilo Chen, Jack Mendenhall, Ken Marschall, David Parrish, and Idelle Weber.
Within the United Kingdom, photorealist methodologies gained favor among several artists, notably Mike Gorman and Eric Scott. These European painters were introduced to a broader American audience via the 'Superhumanism' exhibition held at the Arnold Katzen Gallery in New York.
While the movement is predominantly linked with painting, sculptors Duane Hanson and John DeAndrea are also associated with Photorealism. Their connection stems from their painted, lifelike sculptures depicting ordinary individuals, meticulously rendered with simulated hair and actual clothing. These artists are referred to as Verists.
Developments Since
Although Photorealism reached its zenith in the , the movement persists, encompassing several foundational photorealists alongside numerous contemporary practitioners. As documented in Meisel and Chase's Photorealism at the Millennium, only eight of the initial thirteen photorealists remained active in the style by . By September , Richard Estes was identified as the sole original Photorealist still actively producing work in the Photorealist manner.
Among the notable artists, Robert Bechtle, Charles Bell, Tom Blackwell, Ralph Goings, John Kacere, Ron Kleemann, Audrey Flack, and Chuck Close have passed away. Don Eddy, Denis Peterson, and Ben Schonzeit have transitioned away from Photorealism, while Robert Cottingham no longer identifies as a photorealist.
Contemporary Photorealist artists continue to develop the foundational principles established by their predecessors. For instance, Richard Estes's influence is discernible in Anthony Brunelli's art, while the impact of Ralph Goings and Charles Bell is evident in Glennray Tutor's creations. This evolution, however, has prompted a departure from the stringent definition of photorealism as solely the emulation of photographic imagery. Furthermore, photorealism has transcended its origins as an exclusively American art movement. Following Franz Gertsch's contributions in the 1980s, a cohort of European artists, including Clive Head, Raphaella Spence, Bertrand Meniel, and Roberto Bernardi, have emerged since the mid-1990s, aligning with the photorealist tradition. The international expansion of photorealism is further exemplified by collaborative initiatives like The Prague Project, where American and international photorealist painters have convened in cities such as Prague, Zurich, Monaco, and New York to create art collectively.
Technological advancements have facilitated the creation of photorealistic paintings that surpass previous artistic limitations, with these contemporary works often categorized as "Hyperrealism." Innovations in camera and digital imaging equipment enable artists to achieve heightened precision and to employ a more diverse array of media in their artistic production. Notably, artist Bill Fink has pioneered a distinctive method for generating photorealistic images, incorporating unconventional materials such as soil, pollen, human hair, and cremated human remains.
The influence and popularity of Photorealism persist, evidenced by recent publications like Juxtapoz's 2014 volume, Hyperreal, which chronicles contemporary developments within this artistic genre.
A Compendium of Photorealist Artists
- Pioneering Photorealist Artists
Prominent artists whose contributions were instrumental in defining the Photorealist movement include:
- Contemporary Photorealist Artists
Notable artists whose oeuvre aligns with the established criteria of Photorealism include:
- Steven Townsend (born 1955)
- Linda Bacon (born 1942)
- Mike Bayne (born 1977)
- Roberto Bernardi (born 1974)
- Arne Besser (1935–2012)
- Anthony Brunelli (born 1968)
- Bryan Charnley (1949–1991)
- Hilo Chen (born 1942)
- Davis Cone (born 1950)
- Randy Dudley (born 1950)
- Martin Gale (born 1949)
- Franz Gertsch (1930–2022)
- Robert Gniewek (born 1951)
- Gus Heinze (born 1926)
- Gottfried Helnwein (born 1948)
- Don Jacot (born 1949)
- Noel Mahaffey (born 1944)
- Dennis James Martin (1956–2001)
- Jack Mendenhall (born 1937)
- Kim Mendenhall (born 1949)
- Betrand Meniel (born 1961)
- Reynard Milici (born 1942)
- Marilyn Minter (born 1948)
- Robert Neffson (born 1949)
- William Nichols (born 1942)
- Jerry Ott (born 1947)
- James Torlakson (born 1951)
- Tjalf Sparnaay (born 1954)
- Paul Staiger (born 1941)
- Glennray Tutor (born 1950)
- Rod Penner (born 1965)
- Raphaella Spence (born 1978)
- Idelle Weber (1932–2020)
- Ken Orton (born 1951)
- Roger Winter (born 1934)
- Additional Photorealist Artists
- Clive Head (born 1965)
Bibliography
Bibliography
References
Baker, Kenneth (1982-06-22). "The The Illusion Reality Of Of Reality Illusion." The Boston Phoenix. Retrieved 2024-09-02.
- Baker, Kenneth (1982-06-22). "The The Illusion Reality Of Of Reality Illusion". The Boston Phoenix. Retrieved 2024-09-02.The dictionary definition of photo-realism is available.
- The dictionary definition of photo-realism at Wiktionary