Close, Chuck - Foto-Realismo
Big Self-Portrait, 1967-1968
Acrylic on canvas
Walker Art Center, Minnesota
Study for Self-Portrait, 1968
Gelatin-silver print, ink, pencil, and pressure-sensitive tape on board
18 5/8 x 13 3/8" (47.2 x 33.9 cm)
Museum of Modern Art, New York City
Nancy, 1968
Acrylic on canvas
Milwaukee Art Museum, Wisconsin
Frank, 1969
Acrylic on canvas
108 x 84 x 3 in. (274.3 x 213.4 x 7.6 cm)
Minneapolis Institute of Arts, Minnesota
Phil, 1969
Synthetic polymer
9 ft x 7 ft
Whitney Museum of American Art, New York
Bob, 1970
Synthetic polymer paint on canvas
275.0 (h) x 213.5 (w) cm
National Gallery of Australia, Canberra
John, 1971-1972
Acrylic on gessoed canvas
100 x 90 inches
Private collectiom
Keith/Mezzotint, 1972
Mezzotint, plate
44 11/16 x 35 5/16" (113.5 x 89.7 cm)
Museum of Modern Art, New York City
Robert (maquette), 1973
Black and white photographs with masking tape, airbrush, pen, ink, pencil and blue ballpoint pen mounted on foamcore
50 3/4 x 40" (128.9 x 101.6 cm)
Museum of Modern Art, New York City
Robert/104,072, 1973-74
Synthetic polymer paint and ink with graphite on gessoed canvas
9' x 7' (274.4 x 213.4 cm)
Museum of Modern Art, New York City
Portrait, 1976
Oil on canvas
Centre Georges Pompidou. París
Robert/Fingerprint, 1978
Graphite and stamp pad ink
Ackland Art Museum at the University of North Carolina
Phil II, 1982
Handmade paper
Avampato Discovery Museum, Charleston, West Virginia
Phil III, 1982
Cast paper pulp
68 x 52 1/2 in. (172.7 x 133.3 cm)
Smithsonian American Art Museum, Washington D.C.
Fanny/Fingerpainting, 1985
Oil on canvas
259.1 x 213.4 x 6.3 cm (102 x 84 x 2 1/2 in.)
National Gallery of Art, Washington D.C.
Leslie, 1986
Color woodcut
Art Gallery of the University of Rochester, New York
Lucas, 1986-87
Oil & pencil on canvas
Metropolitan Museum of Art, New York
Maquette for April, 1990
Polaroid Polacolor ER print with tape, ink, and paint, mounted to foamcore
20 x 24 in
J. Paul Getty Museum, Los Angeles
Kiki, 1993
Oil on canvas
Walker Art Center, Minnesota
Lorna I, 1996
Digital ink jet print on kozo paper, edition 2/10
38 1/2 x 31 7/16 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri
Self-Portrait, 1997
Oil on canvas
8' 6" x 7' (259.1 x 213.4 cm)
Museum of Modern Art, New York City
Self-Portrait, 1997
Color instant print (Polaroid) mounted on foam-core with tape, ink, felt-tipped pen, graphite and oil paint on board
36 x 24" (91.2 x 61 cm)
Museum of Modern Art, New York City
Cindy, 1998
Oil on canvas
102 x 84 in.; 259.1 x 213.4 cm
Museum of Contemporary Art, Chicago
John, 1998
Silkscreen
5 1/2 by 4 1/2 feet
Virginia Museum of Fine Arts
Self-Portrait/Pulp/Pochoir, 2000
Paper pulp and pochoir
25 3/16 x 19 5/16" (64 x 49 cm)
Museum of Modern Art, New York City
Untitled Torso (K.W.), 2000
Two daguerreotypes (diptych)
each 8 x 6 1/8 in. (20.3 x 15.6 cm)
Yale University Art Gallery, New Haven, Connecticut
Self-Portrait/Scribble/Etching, 2001
Soft-ground etching on paper
Walker Art Center, Minnesota
Lyle, 2002
Color silkscreen
58 x 48 in.
Boise Art Museum. EEUU
Inka, 2003
Oil on canvas
102 x 84 inches
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Em "John, 1971-1972", apesar de tratar um tema banal, este grande quadro torna-se inquietante. De aparente fácil interpretação, uma observação mais atenta descobre variações de focagem e de escala que nos confundem. A névoa em torno das orelhas e dos ombros aproxima o rosto do observador. Com grande virtuosismo técnico, close copiou e amplou uma fotografia, reproduzindo exactamente as distorsões criadas pela câmara. Simultaneamente lugar-comum e excepcional, a imagem existe algures entre o trompe l'oeil - uma técnica de pintura que cria a ilusão de a figura ser tangível e tridimensional - e a reprodução fotográfica, que embora fiel à realidade, é limitada pela profundidade das lentes da câmara. Um artista hiper-realista de proa, close continuou a pintar retratos colossais. Na sua obra mais recente, a imagem é feita de pontos multicoloridos, de forma a que a nossa atenção flutue entre o padrão da superfície e a visão global do quadro, que só pode obter-se à distância. Chuck Close nasceu em Monroe, WA (EUA) em 1940.
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Chuck Close, born 1940, american painter and printmaker. He studied (1960–65) at the University of Washington, Seattle, at Yale University and at the Akademie der Bildenden Künste in Vienna. During this period he painted biomorphic abstract works, influenced by the avant-garde American art of the previous two decades. After a brief experiment with figurative constructions, he began copying black-and-white photographs of a female nude in colour on to canvas. After abandoning this approach he used a black-and-white palette, which resulted in the 6.7 m long Big Nude (1967–8; artist's col., see Lyons and Storr, p. 14). Finding this subject too ‘interesting', he turned to neutral, black-and-white head-and-shoulder photographs as models, which he again reproduced in large scale on canvas, as in Self-portrait (1968; Minneapolis, MN, Walker A. Cent.). He incorporated every detail of the photograph and allowed himself no interpretative freedom. Working from photographs enabled him to realize the variations in focus due to changing depth of field, something impossible when working from life. He continued in the black-and-white style until 1970, when he began to use colour again. With a similarly limited range of model photographs, he experimented with various types of colour marking. The pencil and ink Robert/104,072 (1973–4; New York, MOMA), for example, is made from 104,072 separate colour squares. Other techniques included the use of fingerprint marks and pulp paper fragments. This concern with modes of representation links him to conceptual art as well as, more obviously, to Photorealism. For the colour paintings such as Linda (1975–6; Akron, OH, A. Mus.) he used acrylic, ink and watercolour among other media, and built the works up using only cyan, magenta and yellow, thus imitating mechanical reproduction techniques. Close also made occasional prints, such as the mezzotint Keith/Mezzotint (1972; see Lyons and Storr, p. 162). In the 1980s he worked with handmade papers and also produced images pieced together from huge polaroid photographs, such as Bertrand II (1984; artist's col., see Lyons and Storr, pp. 156–7).
Article provided by Grove Art Online www.groveart.com
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8:10 AMOfficial Burt Young Website Launch!
The official website of Burt Young has been launched. Burt Young, the Academy Award nominated actor and maverick artist, has launched a wonderful display of paintings. The website is a literal library describing milestones, film and art. He can be browsed at: http://burtyoungartandfilm.com/
10:08 AM
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Best,
Levari
http://thenightbook.blogspot.com
I'm linking the whole site.
9:33 PM
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2:56 AM
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Modern Art
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