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New Realism

New Realism. Photo-Realism Super Realism. New Realism. New Realism is also known as Super-Realism, Photo-Realism, and Hyper-Realism. Artists used commercial art techniques such as the grid, airbrush, photography, or anything that would help produce a realistic image.

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New Realism

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  1. New Realism Photo-Realism Super Realism

  2. New Realism • New Realism is also known as Super-Realism, Photo-Realism, and Hyper-Realism. • Artists used commercial art techniques such as the grid, airbrush, photography, or anything that would help produce a realistic image. • It was based on the pop of the 50's & 60's and astounded the viewer with incredible illusions of reality. • Artists strive for a synthesis of reality. • Often the look of the finished product is determined by the source (photo or cast of an actual person). • Artists return to the notion that there is a world worth looking at and recording on canvas.

  3. New Realism • Photo-Realism evolved from two longstanding art-historical traditions: trompe l'oeil ("to fool the eye") painting and the meticulous technique and highly finished surfaces of seventeenth-century Dutch painting. • Painters such as Vermeer greatly influenced Estes with their detailed observation of reality and their use of technical devices, such as the camera obscura.

  4. Chuck Close • Began as Abstract Expressionist • Begins working with a system: a) grids photo b) Grids canvas to scale c) Paints each square with attention of individual painting • Process is as important as image

  5. Big Self- PortraitChuck ClosePhoto- Realism1967-68

  6. Subject is self-portrait but like I.D. photo • Uses airbrush, impersonal like silk-screen in Pop • Black & White • Large scale - the subject is both heroic & exploited • Very objective rendering of subject - translates photo info into paint info

  7. Portraits in no way reflect the inner qualities of the subject • From distance - giant blow-ups of photo's • Up close - Abstract fields of dots & marks • Info exposes every detail including the unflattering - pores, hairs, wrinkles, blemishes • Not idealized

  8. John 1971-72 • Artist’s friend • Reproduces limited depth of field of the photographic source

  9. Collapse of vein in 1988 leaves him in near total paralysis (legs, arms, even hands) • Now paints with brush strapped to wrist in a wheelchair

  10. Roy IIChuck ClosePhoto- Realism1994 • Part of a series of fellow artists – this one depicts Roy Lichtenstein

  11. His new circumstances librated his process. • Having no fine motor skills forced a new system involving concentric circles of sumptuous colour, and expressive handling of paint. • Grids are much larger, so the resolving distance increases

  12. Richard Estes • Master of the urban scene, he paints directly from photo's and slides • An Estes painting is a composite of several photographic views of the same subject (often up to 75 exposures combined in photomontage.) • He is not concerned with recreating exact copies of photographs, but rather in manipulating and reconstructing them to create a view that appears more truthful to the eye than reality. • Scenes of New York City that focus on the built environment rather than the natural one.

  13. Richard Estes • They are usually obscure locations rather than well-known landmarks. • Compositions are typically devoid of people and therefore convey a sense of somber isolation without narrative. • Some content is derived from Pop (commercial signage), but technique and style are more sophisticated. • The image is built up in layers of acrylic paint. Estes then overpaints the entire canvas in oil, to enhance luminosity and rich saturation of color.

  14. Central Savings, 1975 • The subjects reveal the prominence of commercialism in the urban landscape. • The camera makes available a vast amount of info, frozen in time. • The mood is non-judgmental/neutral.

  15. Central Savings, 1975

  16. Central Savings, 1975 • Reflections on glass & chrome animate the scene. • Colours, shadows, & every subtly of perspective is painstakingly reproduced and enhanced.

  17. Double Self-Portrait, 1976 • Demonstrates his attention to detail, and convincing depiction of reflection. • Reflections dissolve/fuse the barrier between background & foreground. • Multiple layers of visual information, alert the viewer to things they have not noticed before.

  18. Double Self-Portrait, 1976

  19. Double Self-Portrait, 1976 • Reflection adds depth • The location is out of context and the open composition is nearly abstract because of the emphasis on rectilinear shapes.

  20. Duane Hanson • Work contains tension between artificial & realistic qualities • Based on direct cast of parts of human figures, then reassembles them cast in polyester resin & fiberglass, with real clothes, wigs, & objects. • Uses cast in the way Estes uses photos • Figures mix/ blend in to the environment • Subjects are everyday people • Satires, and criticizes social circumstances

  21. Tourists 1970

  22. Virtual Reality • Subject suggests physical bloating & Intellectual starvation • Paradox - detached viewers are subjects of observation • Social observation of retired tourists in NY • Bizarre quality - very real, but don't move or breath

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