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Photo-realism

Majority of the time photo-realistic painters came up because photo-realism originated in oil paintings which artists created when rejecting photography to create large scale images as art. I have taken a lot of notes on photo-realism which I will be scanning and uploading soon. I feel that in this modern time photo-realism has evolved in computer based software’s where real images can be taken and used as a base to give life to what may seem unreal on a daily basis. I will explain what I mean when I post further research of artists who portray what I am trying to describe. So far I have found oil paintings which were created to represent realism and photo-realism.

John’s Diner by John Baeder

(John’s Diner with John’s Chevelle, 2007
John Baeder, oil on canvas, 30×48 inches).

 

Ralph’s Diner by Ralph Goings

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One response

  1. Such affinities and allusions, whether or not they were conscious, coexist of course with notable differences across the two artists’ work, beyond the obvious technical distinctions. The narrative and documentary suggestions in Sickert, for instance, highlight the sense of studio staging in the work of Freud, which generally aspires to the condition of portraiture, whereas Sickert’s art references the more impersonal genre tradition. The same argument could be extended to the naked portraits of Henrietta Moraes, mediated by photographs taken by John Deakin, that were created by Freud’s great friend Francis Bacon in the 1960s (fig.12). The conception of the figure here, and the visual interplay in related pictures between fleshy, writhing human body, soft mattress and metallic frame, suggest an awareness of Sickerts such as La Hollandaise c.1906 (Tate T03548 , fig.13). Moreover, at a more technical level, looking at this type of Sickert may also have encouraged Bacon to juxtapose very different modes of paint handling within the same canvas, while the white marks in La Hollandaise, floating free from their descriptive purpose, offer an intriguing precedent for the ejaculatory blobs of white paint that become such a recurrent and shocking feature of Bacon’s work from the mid-1960s onwards.

    January 28, 2013 at 5:38 pm

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