When a photo is taken in a studio, some elements are crafted. Will it make us understand photorealism better that it is an inclusion of everything in daily life without craft?
Paintings of still life that at once look real and as a photograph are very often in your mailbox forwarded by friends who cant believe that paintings can be done so realistically. Photorealism is one subject which divides a clear line between those who get it and those who dont. For one side if its skill and tradition, for the others it lacks artists perspective. For such a disputed topic, 'Photorealism: Beginnings to Today" has a great section of Artists Biographies which summarise the artists view of why they do photorealistic paintings.
For one artist, "changing the size of an object lets them explore its reality" like Georgia O keefe's flower paintings, for another, "cropping of the subject enforces tight composition", yet another shows "how people need chrome in a painting to see themselves". One artist convinces himself that he is creating everything he is painting.
For such a divisive topic, I would have liked more essays than available in the book.
In 'the Ignorant Maestro', Itay Talgam asks "How would you like walking into a Van Gogh exhibition in which all the paintings had recently been "upgraded" so the gaps between the painter's view of the landscape and the "real" view we know from everyday experience has been eliminated?". Perhaps the photorealistic is to show that there is always a gap, even if the painter tries to make the painting seem real, as there is his interpretation present in it always. Zeno's paradox.
poetry prompt:
1. Aging, Beauty and Appearance
Find groups of three words from dictionary that make for an interesting beading.
2. "By radically changing the size of everyday objects we can get into them and more easily explore their surfaces and construction -their reality" - Charles Bell
3. Black Glass Still Life with Fish, Pear, Skeleton
What are you likely to compose in your still life?
4. The cropping of the subject enforces a tight composition .. according to Gus Heinze. What would you choose to crop out?
5. It isnt the reflective quality of chrome as a painting that interests me - its the evidence that they need a certain amount of chrome in their lives, in a figurative sense, in order to see themselves"
What else do people need to see themselves?
6. When I paint water, rocks, sky, trees, chairs, etc., I must imagine touching them, convincing myself, as it were, that I am creating these things in a very real sense. The magic occurs when I believe I have done this
What would you paint to create?
Paintings of still life that at once look real and as a photograph are very often in your mailbox forwarded by friends who cant believe that paintings can be done so realistically. Photorealism is one subject which divides a clear line between those who get it and those who dont. For one side if its skill and tradition, for the others it lacks artists perspective. For such a disputed topic, 'Photorealism: Beginnings to Today" has a great section of Artists Biographies which summarise the artists view of why they do photorealistic paintings.
For one artist, "changing the size of an object lets them explore its reality" like Georgia O keefe's flower paintings, for another, "cropping of the subject enforces tight composition", yet another shows "how people need chrome in a painting to see themselves". One artist convinces himself that he is creating everything he is painting.
For such a divisive topic, I would have liked more essays than available in the book.
In 'the Ignorant Maestro', Itay Talgam asks "How would you like walking into a Van Gogh exhibition in which all the paintings had recently been "upgraded" so the gaps between the painter's view of the landscape and the "real" view we know from everyday experience has been eliminated?". Perhaps the photorealistic is to show that there is always a gap, even if the painter tries to make the painting seem real, as there is his interpretation present in it always. Zeno's paradox.
poetry prompt:
1. Aging, Beauty and Appearance
Find groups of three words from dictionary that make for an interesting beading.
2. "By radically changing the size of everyday objects we can get into them and more easily explore their surfaces and construction -their reality" - Charles Bell
3. Black Glass Still Life with Fish, Pear, Skeleton
What are you likely to compose in your still life?
4. The cropping of the subject enforces a tight composition .. according to Gus Heinze. What would you choose to crop out?
5. It isnt the reflective quality of chrome as a painting that interests me - its the evidence that they need a certain amount of chrome in their lives, in a figurative sense, in order to see themselves"
What else do people need to see themselves?
6. When I paint water, rocks, sky, trees, chairs, etc., I must imagine touching them, convincing myself, as it were, that I am creating these things in a very real sense. The magic occurs when I believe I have done this
What would you paint to create?
