Art History ( Lesson 75): Superrealism/Malcolm Morley,Chuck Close,John DeAndrea,Audrey Flack,Estes: скачать в хорошем качестве

Art History ( Lesson 75): Superrealism/Malcolm Morley,Chuck Close,John DeAndrea,Audrey Flack,Estes:

Art History ( Lesson 75): Superrealism/Malcolm Morley,Chuck Close,John DeAndrea,Audrey Flack,Richard Estes: Superrealist artists work with unnerving precision, confounding the viewer's expectations of art by presenting a world that is, unsettlingly, truer than true. The style flourished in the US in the late 1960s and the 1970s. Superrealism is a style of art based on imitating photographs in paint, and imitating real objects in sculpture. The name was coined by Malcolm Morley, the pioneer of the genre, in 1965. Other terms used to describe this movement are Photorealism and Hyperrealism. Origins and influences: The obvious forerunner to Superrealism was trompe l'oeil (to fool the eye) painting, in which the artist tried to convince the viewer that what they were seeing was not a painting of objects, but the objects themselves. This genre originated in the Renaissance and flourished in Dutch painting of the 1600s and American painting of the 1800s. The highly finished surfaces of 17th-century Dutch painting, which are especially evident in Vermeer's work, were also influential on many Superrealists, especially Richard Estes. Subjects: Superrealist painters usually try to mimic the unique qualities of a photograph - the way the image falls in and out of focus, the way the lens distorts features, and the way the shutter freezes motion. Malcolm Morley's paintings of ships, for example, look like photographs that have been cheaply reproduced, while Richard Estes's paintings of the wide cityscapes of New York look like panoramic photographs. Superrealists usually try to remove emotion from their paintings, thus replicating the apparent detachment of mechanically produced images. Superrealist sculptors strive to mimic real objects, especially the human figure. The two most famous Superrealist sculptors - John DeAndrea and Duane Hanson - cast directly from the human body. They work in polyvinyl, which gives a smooth, flesh-like finish and allows for detailed painting of the surface. Malcolm Morley: In over 50 years as a painter, Malcolm Morley has refused to settle into a single style. His work has covered Abstract Expressionism, Pop Art, and Conceptual Art. But he is most famous for helping to initiate two influential art movements: Superrealism and Neo-Expressionism. In the 1950s, Morley was entranced with Abstract Expressionism, creating paintings with black and white horizontal bands, not dissimilar to the work of Barnett Newman. In the mid-1960s, he pioneered Superrealism and painted ships, using postcards as reference. To avoid painterly expression and emotional responses, he would often turn both the canvas and postcard upside down while he painted. The result was a picture faithful to the look of mass-produced photographic imagery. In the early 1970s, Morley produced Conceptual Art, but by the 1980s he had turned to Neo-Expressionism, and his work was full of loose, robust brushwork and sensual colour. Chuck Close: Chuck Close uses Superrealism to create mural-sized portraits. He works meticulously from photographs, drawing a grid over the photograph before drawing a grid over the canvas and copying the photograph, square by square. Close took up Superrealism in 1967, spending 30 months creating eight huge, black and white airbrushed portraits. In the 1970s, he moved on to colour. He also started making "fingerprint" portraits by inking his finger and making impressions on the gridded surface of the paper. Other portraits were created from small paper disks, of varying colours and shapes, glued to a gridded canvas. Close chooses his subjects from among his friends, including the artists Richard Serra, Roy Lichtenstein, and Robert Rauschenberg. He does not take commissions, saying, "Anyone vain enough to want a nine-foot portrait of themselves would want the blemishes removed"' John DeAndrea: The American sculptor John DeAndrea makes polyvinyl (PVC) casts of the human figure, usually nude. The figures are astonishingly realistic. He sets hair into plastic scalps a few strands at a time. He paints the PVC not just with flesh tones, but also with moles, tiny veins, and scars. Audrey Flack: Audrey Flack came to prominence in the 1970s with a series of Superrealist still-life paintings showing "feminine" subject matter - jewels, cosmetics, cut glass, cream cakes. Unlike many Superrealists, who dispassionately render photographs, Flack aims to stimulate an emotional response in the viewer. She works by projecting a slide on to her canvas and then painting the projected image. Richard Estes: Estes studied at the Art Institute of Chicago, then moved to New York in 1956. Around 1967, he began to paint New York street scenes in a Superrealist manner, working freehand from his own colour photographs Estes rarely reproduces his photographs faithfully - he subtly alters details or, by using two or more photographs, completely reinvents the world he depicts. He focuses obsessively on reflections.