Richard Estes
Richard Estes can be classified as a photorealist painter. He paints a lot of New York City scenes and reflections of city life, although he avoids famous landmarks.
Extremely meticulous depiction of detail, high finish, and sharp focus. He paints intricate reflections of glass and mirror surfaces that look like high-definition photographs. He doesn't include certain details like snow or dirt because he feels they will detract from the scene.
compared to Chuck Close and Dwayne Hanson.
tagged:
- abstraction
- acrylic on canvas
- African American art
- Albert Oehlen
- alienation
- Allison Miller
- ambiguity
- Amy Cutler
- Amy Sillman
- analytical painting
- Anselm Kiefer
- architectural drawing
- art therapy
- banality
- Bernard Frize
- bright colors
- Cecily Brown
- challenges representation
- Chicago Imagists
- Chinese
- cityscapes
- collaborative works
- color
- conceptual art
- criticism of art
- Cy Twombly
- Damien Hirst
- Dana Schutz
- death
- depth perception
- destruction
- detachment
- discomfort
- distortion
- DIY
- Ellen Gallagher
- energetic compositions
- European Folk Art
- exploitation
- Fabian Marcaccio
- fashion
- favorite
- feminism
- figural
- first year art student
- flat color
- Francis Alys
- Fred Tomaselli
- gestural
- globalism
- gouache on paper
- Gregory Amenoff
- history
- humor
- Hung Liu
- impasto
- Indonesian
- Inka Essenhigh
- Janaina Tschape
- Jane Callister
- Japanese
- Jim Nutt
- John Currin
- Julie Mehretu
- Jumaldi Alfi
- Karin Davie
- kitsch
- landscapes
- large scale
- Lesley Vance
- line
- Lisa Yuskavage
- Lorraine Shemesh
- Luc Tuymans
- magazine collage
- manipulation
- Mark Tansey
- Marlene Dumas
- Merlin Carpenter
- metaphor
- miniature
- minimalism
- mixed media
- monochromatic
- Muslim
- naivity
- narrative paintings
- negatively received
- Neo Rauch
- Neopop
- New Symbolism
- New York City
- Nigel Cooke
- non-representational
- obsession
- obvious brushstrokes
- off the wall installations
- oil on canvas
- oil on linen
- Op art
- paradoxical
- Pat Steir
- performance
- photographs as source material
- photorealism
- physical transformation
- physicality
- Pia Fries
- place
- pleasure
- poetry as source material
- politics
- pop culture influence
- portraits
- process painting
- race
- reality
- reflections
- repetition
- reproduction
- Richard Estes
- romanticism
- Rosy Keyser
- sculptural
- self-made object as source material
- self-obliteration
- sexuality
- Shahzia Sikander
- shockingly bad
- skepticism
- Southern California
- still life
- sugar
- surrealism
- symbolism
- Tal R.
- technical precision
- Telestrations
- theatricality
- Tomory Dodge
- transcendence
- unusual paint application
- uses unusual materials
- visual music
- watercolor
- wet on wet
- Wilhelm Sasnal
- Will Cotton
- works quickly
- Yayoi Kusama
- Yoshitomo Nara
Showing posts with label photographs as source material. Show all posts
Showing posts with label photographs as source material. Show all posts
Sunday, November 10, 2013
Hung Liu
Hung Liu
Hung Liu studied mural painting in Beijing. She includes Chinese history in nearly all of her paintings.
She shows images of refugees, women, and children- references of anonymous Chinese historical photographs. Heavy use of metaphor for the loss of memory and traditional Chinese symbolism.
Formally she uses linseed oil to make the painting look drippy/obviously referential of paint itself. This is a GREAT example of space and place! She uses mixed media on panel, canvas, or tapestry. Mixed media breaks figure/background planes.
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Cherry, 2010, mixed media |
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Rainmaker, 2011, mixed media on tapestry |
Hung Liu studied mural painting in Beijing. She includes Chinese history in nearly all of her paintings.
She shows images of refugees, women, and children- references of anonymous Chinese historical photographs. Heavy use of metaphor for the loss of memory and traditional Chinese symbolism.
Formally she uses linseed oil to make the painting look drippy/obviously referential of paint itself. This is a GREAT example of space and place! She uses mixed media on panel, canvas, or tapestry. Mixed media breaks figure/background planes.
Marlene Dumas
Marlene Dumas
Marlene Dumas' paintings blur the lines of race and identity. She is interested in the ambiguous divide between the public and private self. She also includes themes of sexuality, empowerment, and exploitation.
Formally she works from photographic imagery. The emotional, carnal quality of her images redefines the content of her sources. She uses oil paint on canvas in high contrasting colors or fluid watercolor on paper.
Marlene Dumas' paintings blur the lines of race and identity. She is interested in the ambiguous divide between the public and private self. She also includes themes of sexuality, empowerment, and exploitation.
Formally she works from photographic imagery. The emotional, carnal quality of her images redefines the content of her sources. She uses oil paint on canvas in high contrasting colors or fluid watercolor on paper.
Tuesday, November 5, 2013
Wilhelm Sasnal
Wilhelm Sasnal
Wilhelm Sasnal modifies reality by painting banal situations and objects in unusual compositions. He borrows subjects from art history, 20th century propaganda, and photojournalism. He explores modern concepts of beauty in his portrait series. The cigarettes in the women's mouths represent self-destruction. Many of his paintings are contemporary versions of Pop Art.
He paints in a way that you can clearly see the medium is paint.
Very similar to Luc Tuymans.
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Girl Smoking (Anka), 2001, oil on canvas |
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Soldiers, 2001, oil on canvas |
Wilhelm Sasnal modifies reality by painting banal situations and objects in unusual compositions. He borrows subjects from art history, 20th century propaganda, and photojournalism. He explores modern concepts of beauty in his portrait series. The cigarettes in the women's mouths represent self-destruction. Many of his paintings are contemporary versions of Pop Art.
He paints in a way that you can clearly see the medium is paint.
Very similar to Luc Tuymans.
Luc Tuymans
Luc Tuymans
Tuymans uses photographs as source material to create dislocation from real events, manipulation and deception in art. He executes all of his works in a single day and experiences feelings of aggression and violence before and during painting. His works, removed from photographs, create a sense of detachment. They often appear blown-out and overexposed.
Very similar to Wilhelm Sasnal.
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Gas Chamber, 1986, oil on canvas |
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The Rabbit, oil on canvas |
Very similar to Wilhelm Sasnal.
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2013
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November
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- Pat Steir
- Jumaldi Alfi
- Allison Miller
- Shahzia Sikander
- Jim Nutt
- Cy Twombly
- Tomory Dodge
- Rosy Keyser
- Amy Cutler
- Richard Estes
- Hung Liu
- Nigel Cooke
- Lorraine Shemesh
- Mark Tansey
- Neo Rauch
- Tal R.
- Yoshitomo Nara
- Janaina Tschape
- Inka Essenhigh
- Lisa Yuskavage
- John Currin
- Will Cotton
- Cecily Brown
- Pia Fries
- Lesley Vance
- Amy Sillman
- Dana Schutz
- Albert Oehlen
- Julie Mehretu
- Bernard Frize
- Karin Davie
- Marlene Dumas
- Damien Hirst
- Fabian Marcaccio
- Gregory Amenoff
- Merlin Carpenter
- Jane Callister
- Fred Tomaselli
- Francis Alys
- Ellen Gallagher
- Yayoi Kusama
- Anselm Kiefer
- Wilhelm Sasnal
- Luc Tuymans
-
▼
November
(44)