There is an irony in the fact that as a Photorealist my time is spent in a form of copying. Far from cheating, I have discovered that translating the image from the photograph requires the most intense discipline and that limiting the arena of self-expression also refines it. Working from the photograph requires a new kind of invention—an invention of means rather than of forms. The photograph is a tool which enables me to freeze the 'ordinariness" I am after, one which helps me to achieve the veracity that makes it possible to capture the ineffable in the commonplace.
At school he discovered that art was the one thing that gave him a sense of identity. It was what others responded to in him and it was what he felt he was born to do. By the 's he had grown into an artist of national stature. Tragically, on December 7th he was struck by a devastating affliction that he now refers to as the 'Event' - he suffered a spinal stroke which left him paralysed from the neck down and dependant on a wheelchair for mobility.
Close has always been the type of person who reacts positively to adversity and his response to the 'Event' proved no exception. The thought of giving up art was never an acceptable option.
Motivated by the determination to paint again, he endured endless hours of physical therapy which helped him to regain some use of his hands and arms. Prior to the 'Event', Close had been accustomed to applying self-imposed limitations as a creative parameter in his art and he had developed various techniques and methods of mark making that worked within his style.
As a result of the 'Event' he was forced to adapt his working method to accommodate his restricted movement. It was never a question of starting again; it was more a matter of finding a new vocabulary of marks that could express his vision within the limitations of his disability.
This is a tentative study of his friend, the artist Alex Katz, based on a black and white Polaroid photograph taken two years earlier. Although he was painting portraits in a similar style before the 'Event', his brushwork is now less constrained by the grid and his color palette is more dynamic.
As this work is based on a monochrome image, his choice of colors is obviously subjective. The use of strong complementary hues is as much a statement that reflects his conflicting emotions as it is an attempt at optical accuracy.
This is a massively courageous picture and given the context it could be seen as one of Close's greatest works. All great portraits tell you more about the artist than they do about the sitter. Alex Katz may be the sitter but the real subject of this work is Close's personal battle to regain his artistic confidence.
He employs it as an important compositional device to structure his image and not merely as a method for scaling up his photographic source material. Its scale and placement in relation to the image is crucial as he searches for what he calls 'the beat of the grid' - the configuration of increments that breaks up the image in the most interesting manner.
In general, the size of his grids have increased over time resulting in a lower resolution image but amplifying the abstract qualities of color and pattern. Therefore, what he loses in descriptive detail he gains in the colorful impact of each individual section.
Although Close's early black and white heads worked on different levels, you had to take an imaginative leap to engage with alternative readings of the image.
The use of the grid was implicit and not obvious enough in the final work to awaken your consciousness to the conceptual content of the process.
With the works that he has created since the 'Event', his use of the grid is more explicit. He controls the viewers interaction with the image in a more measured way.Charles Thomas "Chuck" Close (born July 5, ) is an American painter, artist and photographer who achieved fame as a photorealist, through his massive-scale portraits.
Chuck Close is an American photographer and photorealist painter and printmaker. Chuck Close- 3rd Draft Most portrait artists draw their models by looking at them while they are working. However, Chuck Close, an American photorealist and superrealist artist, paradoxically renders his models in a reverse way.
He said, “I have trouble recognizing faces, This work was a milestone for Close. Afterward, he created many. This exhibition includes paintings of Richard Estes’s Telephone Booths () and Chuck Close’s Leslie ().
Picturing America is divided into four sections, such as, Culture of Consumption, American Life, themes of Photorealist painting during the s -Reflections on the City, and a dedication to a portfolio of ten lithographs.
16th April | Exhibition Deutsche Guggenheim Berlin The Deutsche Guggenheim in Berlin is planning an exhibition opening February of that will feature the seminal work of the twelve first generation photorealist painters. "Denis Peterson is widely acknowledged as one of the pioneers of the Hyperrealism movement.
His recent works encompass meticulously detailed New York cityscapes that explore the frenetic pace of the modern American metropolis.