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international art movement of the late 1960s and 70s that stressed the precise rendering of subject matter, often taken from actual photographs or painted with the aid of slides. Also known as superrealism, the style stressed objectivity and technical proficiency in producing images of photographic clarity, often street scenes or portraits. Well-known American photorealists include the painters Chuck CloseClose, Chuck
(Charles Thomas Close), 1940–, American painter, b. Monroe, Wash., grad. Univ. of Washington (B.A., 1962), Yale Univ. (B.F.A., 1963; M.F.A., 1964). After studying in Vienna (1964–65), he moved (1968) to New York City.
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 and Richard EstesEstes, Richard,
1936–, American painter, b. Evanston, Ill. One of the best-known American exponents of photorealism, Estes is noted for his street scenes.
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 and the sculptor Duane HansonHanson, Duane,
1925–96, American sculptor, b. Alexandria, Minn. A member of the superrealist movement of the late 1960s and early 70s, Hanson produced life-sized tableaux of realistic figures and props.
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See also contemporary artcontemporary art,
the art of the late 20th cent. and early 21st cent., both an outgrowth and a rejection of modern art. As the force and vigor of abstract expressionism diminished, new artistic movements and styles arose during the 1960s and 70s to challenge and displace
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References in periodicals archive ?
One way of using photography in the way used by Photorealists is to take numbers of snapshots of a particular view.
Each Photorealist artist has a unique style, but all of them take great care to include every detail present in their subjects.
Photorealist art was often made by studying many different photographs of the same scene.
In some ways, Photorealist artists are like investigative reporters, trying to reveal everything possible about their subjects.
Popular subjects for Photorealist painters were city and suburban streets, railroad cars, new cars as well as old wrecks, diners and movie houses.
IN AN INTERVIEW IN THESE PAGES LAST SUMMER, French theorist Jean-Claude Lebensztejn invoked Duchamp's elusive, lyrical notion of the "infra-thin" as one way to think about the complex relationships between Photorealist paintings and their source materials.
If you just think of the variety of things that appear in the photorealist paintings--it's vast.
As a photorealist or hyperrealist painter, van Zyl plays with mimesis.
If, by virtue of being a photochemical process, a photograph is supposed to represent the real in unmediated fashion, by reproducing photographs in highly mediated fashion, the photorealist painter represents representation.
Typically, the photorealist breaks up the image into its constitutive elements--none of which means anything in isolation from the image as a whole.
In Close's later work, which is not recognisably photorealist, it becomes clear that those rules relate to the mixing of pigments as well as the optical effects of placing certain colours adjacent to one another.