Photorealism

フォトリアリズム / 1968–1980s / Style / Postwar American Art

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.

Photorealism — Ralph Goings, Sacramento Airport — Wikimedia Commons / CC BY-SA 4.0
Ralph Goings, Sacramento Airport — Wikimedia Commons / CC BY-SA 4.0 · CC BY-SA 4.0
Photorealism — John Baeder, John's Diner with John's Chevelle, 2007 — Wikimedia Commons / CC BY-SA 3.0
John Baeder, John's Diner with John's Chevelle, 2007 — Wikimedia Commons / CC BY-SA 3.0 · CC BY-SA 3.0
Photorealism — Jan Anders Nelson, American Landscape, 1975–1976 — Wikimedia Commons / CC BY 4.0 · © Jan.anders.nelson , Artist
Jan Anders Nelson, American Landscape, 1975–1976 — Wikimedia Commons / CC BY 4.0 · CC BY 4.0 · © Jan.anders.nelson , Artist

At a glance

Visual 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

Best used for

  • Advertising for cars and watches where the reflections in chrome and glass are the subject
  • Books and features on the city and consumer culture that keep the information a mechanical eye records

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Dictionary entry

Type
Let lettering appear inside the frame as signage, never laid over the image from outside
Composition
Keep the photograph's own crop and do not recompose the frame
Material
Paint grain and fringing into a surface smoothed of every brushmark, letting no substrate texture show
Caution
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.
Further study
Airbrush technique and grid transfer / The presentation at documenta 5 in 1972 / The role of the photograph as an intermediary term

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