Photorealism : 50 Years of hyperrealistic painting
Author(s)
Bibliographic Information
Photorealism : 50 Years of hyperrealistic painting
Hatje Cantz Verlag, 2013
- Other Title
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Photorealism : Fifty years of hyperrealistic painting
Available at 2 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Exhibition catalogue
Catalog of an exhibitions held at Kunsthalle Tübingen, Tübingen, December 6, 2012-March 10, 2013; Museum Thyssen-Bornemisza, Madrid, March 21-June 9, 2013; Birmingham Museum & Art Gallery, November 30, 2013-March 30, 2014
Includes bibliographical references
Description and Table of Contents
Description
At work from the late 1960s on, and thus extending the concerns of Pop art, Photorealist artists devoted themselves to the veneer of everyday life: glossy shop windows, limousines with shiny chrome, garishly colored plastic kitsch and urban scenes have been the favorite subjects of this school for 50 years. Photorealists might also explore the subtle gradations of light in reflections; various shades and forms in shadow; as well as the multiple gradations of pigment within one apparently homogenous block of color. They often employ technical aids to create painted illusions: they photograph their source materials, transfer them with the aid of slide projectors or scans and then portray the final image precisely with the brush or spray gun on canvas. This publication presents works by leading figures in this movement, starting with first-generation Photorealists such as Richard Estes, Chuck Close and Don Eddy and moving through three generations of artists to the hyper-realistic visual experiences of contemporary digital artists such as Yigal Ozeri, Raphaella Spence and Robert Neffson. In a world awash with a dazzling infinity of instantly produced realistic images, from TV to Polaroids and (more recently) digital camera, these paintings can be spellbinding in their finely-honed precision, while exuding exceptional virtuosity.
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