{"id":"photorealism","no":480,"name":"Photorealism","ja":"フォトリアリズム","era":"1968–1980s","family":"戦後アメリカ美術","kind":"スタイル","collection":"Dictionary expansion 24","addedAt":"2026-08-18","source":{"title":"Tate — Art Terms: Photorealism","url":"https://www.tate.org.uk/art/art-terms/p/photorealism"},"reference":{"status":"verified","pageUrl":"https://www.tate.org.uk/art/art-terms/p/photorealism","credit":"Tate — Art Terms: Photorealism","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Ralph%20Goings%20-%20Sacramento%20Airport.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Ralph%20Goings%20-%20Sacramento%20Airport.jpg","credit":"Ralph Goings《サクラメント空港》— Wikimedia Commons / CC BY-SA 4.0"}]},"essence":"写真をそのまま絵画へ移し替え、機械の眼が捉えた情報量を手で再現する運動。ショーウィンドウの反射、クロームの歪み、ダイナーのネオンといった被写体が、写真特有のピント・粒状・色収差ごと画布に定着される。「見たまま」ではなく「写真がそう写した」ことを描く。","cues":["写真由来の反射とハイライト","被写界深度をそのまま描く","都市の商業的な被写体","筆跡を消した平滑な表面"],"intents":["技術","未来","信頼"],"works":["一次資料と代表作から成立条件を比較する","別媒体へ応用できる構成原理を取り出す"],"recipe":{"type":"参照作品の文字・記号・スケールを観察する","layout":"視線と情報を支配する構造を一つ抽出する","material":"時代・地域・制作工程に固有の素材と挙動を確認する"},"avoid":"表面的な記号へ還元せず、時代・地域・技術・制作主体の文脈を確認する。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["pop-art","staged-photography"],"study":["エアブラシとグリッド転写の技法","1972年ドクメンタ5での提示","写真という中間項の役割"],"en":{"essence":"A movement that transfers the photograph itself onto the canvas, rebuilding by hand the quantity of information a mechanical eye records. Shop-window reflections, the warp of chrome, diner neon: the subject is fixed on the surface together with the photograph's own focus, grain and chromatic fringing. What is painted is not what was seen but the fact that a camera saw it that way.","cues":["Reflections and highlights taken from the photograph","Depth of field painted exactly as the lens gave it","Commercial subjects drawn from the city","A smooth surface with every brushmark erased"],"works":["Product imagery of chrome, glass and liquid that must read as photographed rather than illustrated, where a rendering has to acquire lens behaviour to be believed","Editorial and campaign work about consumer culture, where the gloss on the surface is itself the argument"],"recipe":{"type":"A neutral grotesque set small and cold, used as caption rather than headline so the image keeps all the voltage.","layout":"One frontal image cropped so the principal reflection falls at the optical centre, with type confined to a single band at the edge.","material":"High-gloss stock or an untextured screen, ink laid perfectly smooth so no substrate grain competes with the photographic grain inside the image."},"avoid":"Cleaning up the lens artefacts: polish out the focus fall-off, the grain and the fringing and the picture stops reading as a photograph made by hand, leaving airless illustration.","study":["Airbrush technique and grid transfer","The presentation at documenta 5 in 1972","The role of the photograph as an intermediary term"]}}