Realism has played an important role in art history ever since the discovery of perspective. Here, John Russell Taylor delineates the artist’s endeavor to re-create the smallest detail, from centuries before the invention of photography to the present day.
This book has been published a series of contemporary artists working in a figurative, hyperrealist style. The diversity of such works, whether still lifes, extreme close-ups, large-scale cityscapes, landscapes, or commercial packaging, is revealed. The artists, including Pedro Campos, Clive Head, Ben Johnson, David Ligare, Cynthia Poole, John Salt, Cesar Santander, Ben Schonzeit, and Tjalf Sparnaay, come from all over the world but are united here by their meticulous approach to their work whether they are depicting people, American diners, book spines, or car engines. 545 color, 5 b&w illustrations.
Comprehensive documentation of 21st-century Photorealism, one of the most popular art movements since the late 1960s. Photorealists work painstakingly from photographs to create startlingly realistic paintings, and where they once used film for gathering information, they now rely on digital technology, which has vastly expanded the amount of detail that can be captured. In these visual marvels they bring insights to vernacular subjects—cars, cityscapes, portraits—and make the commonplace uncommon. Illustrating the book with more than 850 works created since 2000, Meisel covers every major Photorealist still active (including Ralph Goings, Richard Estes, Tom Blackwell, Richard McLean, and John Salt) as well as remarkable newcomers. For the first time he also includes Verist sculptors such as John De Andrea and Duane Hanson.
The third volume in his series on the subject, Louis K. Meisel's Photorealism at the Millennium documents the movement's evolution through the 1990s. More than 600 colour images, including such distinctive works as Tom Blackwell's Odalisque Express, Richard Estes's Spring Afternoon, Madison Square, New York and Ralph Going's Duke Diner represent the decade. Ron Kleemann, Richard McLean, David Parrish, John Salt - every major Photorealist and many of Meisel's discoveries are featured.
The documentation of the important contemporary art movement of photorealism, covering the years 1980 to the present by Louis K. Meisel. The visual imagery in the book ranges from Charles Bell's luminous pinball machines to Chuck Close's mesmerizing portraits to Richard Estes' complex panoramas.
The Photo-Realists, creators of the most popular movement in American painting to emerge in the 1970s, portray the bright shiny surface of the American Dream in amazingly real paintings. More than 950 remarkable works, including 576 in color, are reproduced for a comprehensive study of the movement's major artists.
Featuring both iconic and never-before-published works, this eye-popping volume presents one of the first and finest collections of Photorealism in the United States. Published in conjunction with the exhibition Photorealism: Beginnings to Today at the New Orleans Museum of Art, the book presents seventy works from the late 1960s to recent years. The first affordable book in years on this popular genre of art.
Contents: What is super realism?: The real thing, by G. Henry. Rent is the only reality; or, The hotel instead of the hymns, by I. Karp. The deductive image, by J.P. Marandel. The closeup vision, by C. Nemser. Some women realists, by L. Nochlin; Theory and criticism: Existential vs. humanist realism, by L. Chase. The ersatz object, by K. Levin. Realism now, by L. Nochlin. Beyond freedom, dignity, and ridicule, by H. D. Raymond. Reality again, by H. Rosenberg; The artists : The photo as subject, by W. Dyckes. The silk purse of high-style interior decoration, by G. Henry. Malcolm Morley, post-style illusionism, by K. Levin. Verist sculpture, Hanson and De Andrea, by J. Masheck. Paint, flesh, Vesuvius, by G.R. Swenson. Realism in drag, by H. Truewoman. The grand style, by J. van Baron
With Sam Jinks, Hubert de Lartigue, Jacques Bodin, Pamela M. Johnson, William Lazos,), Glennray Tutor, Denis Peterson, Craig Wylie, Jenny Dabnau, François Chartier, Ruben Belloso, Didi Menendez (Editor)
Du pop art aux " nouveaux pop ", en passant par l'hyperréalisme et la figuration narrative, plusieurs mouvements picturaux ont utilisé la photographie comme fondement de leur création. Ils ont fonctionné à partir de la photographie, non pour représenter le " réel ", mais en la prenant en tant qu'objet de la représentation. Parce qu'ils représentent une image du réel, ces mouvements ne sont donc pas vraiment réalistes. Cette histoire commence au début des années 1950 et se poursuit de nos jours : celle de la naissance et de l'épanouissement d'un nouveau type de relation entre la peinture et la photographie. Cette histoire n'a été que partiellement étudiée jusqu'ici. Elle méritait une approche globale. A travers 150 œuvres commentées, Jean-Luc Chalumeau présente dans cet ouvrage les origines et l'évolution de ces mouvements et nous permet ainsi de mieux les appréhender.
Art conceptuel et hyperréaliste: Collection Ludwig, Neue Galerie, Aix-la-Chapelle (catalogue)
Publisher: Musée d'art moderne de la Ville de Paris
Date of publishing:1974
General Catalog Registration Number: FRBNF34552926
Introductory essays “Du Pop A L’Hyperréalisme: by Karel J. Geirlandt and “Realites Hyperréalisme” by Jean-Pierre Van Tieghem. Published to coincide with the major exhibition at Galarie Isy Brachot. The exhibition was dominated by such American Photorealists as Ralph Goings, Chuck Close, Don Eddy, Robert Bechtle and Richard McLean; but it included such influential European artists as Gnoli, Richter, Klapheck and Delcol. The term Hyperréalisme was coined by Brachot as the title for the exhibition and catalogue, and since then has been used by European artists and dealers to apply to painters influenced by the Photorealists.
CNAC /Archives 11/12
Hyperréalistes américains réalistes européens.
Date of publishing:1974
Text of authors:
Daniel Abadie, Wolfgang Becker, Pierre Restany, Jean Clair
Hyperrealism by Linda Chase is an English translation of a book first published in French in 1973. In large format, it is profusely illustrated in black and white and contains numerous good color reproductions. Chase's essay considers how the painter uses a photograph: to make paintings about how the camera sees, to make paintings about how the eye sees and as a technical discipline. She weaves pertinent quotes by the artists into the text and carefully provides a vocabulary by which to analyze and comprehend the New Realist art. In addition to short biographies of the 23 artists discussed in the text, there is an amusing and cryptic introduction by Salvador Dali.
Real, Really Real, Super Real: Directions in Contemporary American Realism
Exhibition catalogue. 200 p. 86 ill. (60 color). Catalogue of 60 works exhibited. Introduction by Sally Boothe-Meredith; essays by Alvin Martin, Linda Nochlin and Philip Pearlstein; interviews with eleven exhibitors (etc. Ben Schonzeit, James Valerio, Idelle Weber); artists' biographies and exhibitions since 1970; bibliography. Upper spine somewhat mangled; contents fine.
Ekstrem realisme. Værker fra Neue Galerie der Stadt Aachen, Sammlung Ludwig (catalogue)
Publisher: Humlebæk, Louisiana
Date of publishing:1973
Language: Danish, English, French, German
Hyperréalisme, quand l'art dépasse la réalité
Art and the Way is one of the first collections of monographs for youth. Each book addresses an artist or artistic movement in a clear and playful way, always going to the basics, and offers young readers, from the age of eight, a sensitive and concrete approach to art. In the 1960s, in the United States, artists such as Richard Estes, Don Eddy and Richard McLean began painting paintings that, at first glance, look like gigantic photographs. They draw their subjects in the banality of American life: streets of New York, shop windows, cars ... Sculptors, like Duane Hanson, realize more real characters than life. These works have been described as hyperrealistic, because they copy the real with such perfection that the spectator, trapped in the illusion, feels before them a sense of strangeness. Playing with our perceptions, hyperrealism reminds us that we often take the images of reality for reality itself ...