藝苑掇英 Photorealism 照相寫實主義 1960 America

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The name Photorealism (also known as Hyperrealism or Superrealism) was coined in reference to those artists whose work depended heavily on photographs, which they often projected onto canvas allowing images to be replicated with precision and accuracy. The exactness was often aided further by the use of an airbrush, which was originally designed to retouch photographs. The movement came about within the same period and context as Conceptual art, Pop art, and Minimalism and expressed a strong interest in realism in art, over that of idealism and abstraction. Among several male practitioners of Photorealism there is an interest in themes of machinery and objects of industry such as trucks, motorcycles, cars, and even gumball machines, whereas Audrey Flack, the sole female practitioner, infuses her works with greater emotionality and the transience of life. Ultimately, the Photorealists were successful in attracting a wide audience, but they are often overlooked by art historians as an important avant garde style.
To a degree not previously accomplished, Photorealism complicates the notion of realism by successfully mixing together that which is real with that which is unreal. While the image on the canvas is recognizable and carefully delineated to suggest that it is accurate, the artist often based their work upon photographs rather than direct observation. Therefore, their canvases remain distanced from reality factually and metaphorically.
Many Photorealists adamantly insist that their works, which are laden with such mass and consumer culture icons as trucks, fast food restaurants, and mechanical toys, are not communicative of social criticism or commentary. However, it is hard to deny that these works are recognizably American. At times, the actual work rather than the artist's words is our most useful guide. In this manner, there is the contrast between the reality and primacy of the word or text, over the visual within our society.
Since the advent of photography in the early-19th-century artists have used the camera as a tool in picture making; however, artists would never reveal in paint their dependency on photographs as to do so was seen as "cheating". In contrast, Photorealists acknowledge the modern world's mass production and proliferation of photographs, and they do not deny their dependence on photographs. In fact, several artists attempt to replicate the effects of photography (getting away from the natural vision of our eyes) such as blurriness or multiple-viewpoints, because they favor the aesthetic and look. Therefore, while the resulting image is realistic, it is simultaneously one-stage away from reality by its dependence on the reproduced image. These works question traditional artistic methods, as well as the differences between reality and artificiality.
The representation of light, as well as the interaction of light and color together has concerned artists throughout the ages. By using slide machines to project images onto bare canvas Photorealism for the first time unites color and light together as one element. The capturing of light is most especially evident in the highly reflective surfaces of steel and chrome.
Photorealists, along with some practitioners of Pop art, reintroduced the importance of process and deliberate planning over that of improvisation and automatism, into the making of art, draftsmanship, and exacting brushwork. In other words, the traditional techniques of academic art are again of great significance, and painstaking craftsmanship is prized after decades of the spontaneous, accidental, and improvisational.
照相寫實主義是基於相機和照相來採集視覺資訊並依此創作畫作的一派現實主義畫風, 產生於1960年代末70年代初的紐約 。受電視和電影等的刺激是感官延伸, 依賴照相術, 是都市生活形態的產物, 呈現的是「人工的自然」。代表畫家有泊爾斯坦 (Pearlstein), 查克·克洛斯 (Close), 唐艾迪 (Don Eddy), 和愛斯特 (Estes) 等。
名家： 1. 克洛斯（Chuck Close） 2. 埃斯蒂期（Richard Estes） 3. 莫利（MaleolmMorley） 4. 漢森(Duane Hanson,1925-) 5. 安德列(John Andre）
二十世紀六十年代後期逐漸在西方流行。 張藝術的要素是“逼真"和"酷似”， 必須做到純客觀地、真實地再現現實。 所繪對象尺幅多較巨大，如頭像 比原頭部大十倍，面部連汗毛孔等都絲毫無 異地畫出來，只著重於表現生理細節。 所作塑像與真人一般大小，塗上膚色，穿上 衣服，配以道具，極度逼真。題材大都為 車禍或毆鬥槍殺現場情景。 七十年代起轉向再現日常生活中的普通人，如學生、旅 行者、超級市場的顧客、流浪漢等。
照相寫實主義（Photographic Art） 二十世紀７０年代興起於美國的藝術流派，又名超級寫實主義。其主要特徵是利用攝影成果作客觀、逼真的描繪。
照相寫實主義的觀念
根據現代哲學中的距離論的觀念，認為傳統的寫實是基於作者的主觀意識，觀眾了解的可能性較小，若用大家共同的眼睛（照相機）來觀察和反映，則能為更多的觀眾所了解，傳達的範圍也就更普遍。
照相寫實主義的作品常常把對象放大 5～10倍，改變日常事物的尺寸，造成一種異乎尋常的美學和心理效果。具有嚴峻和冷漠感的形象，能傳達出當代西方社會人與人之間的疏遠、冷漠和無人情味，並且為商業廣告開闢出一條新的途徑。
代表畫家 : 佩爾斯坦 （Philip Pearlstein, 1924～ ），美國畫家，人物處理得有點像靜物，代表作《 斜臥的裸女 》（1973）、《 Edmund Pillsbury夫婦 》（1973，德州華茲堡市私人藏）。
克羅斯 （Chuck Close, 1940～ ），美國畫家，將人頭照片投射到畫格子的畫布上，用噴槍筆逐格作畫，約3～6個月完成一幅畫。代表作是各時期的《自畫像》、《Lyle》（1990，紐約 PaceWildDenstein畫廊）。早期如照片模樣放大寫實（ 1967 ），後來變成黑白如印刷的網點（ 1977 ，舊金山美術館，137.5×103.5cm），近期將網點改成彩色圖格繪製（ 2000 ，69.5×54")。
弗洛伊德 （Lucien Freud，1922～ ），德國出生的英國畫家，潛意識心理學大師弗洛伊德之孫，其畫如實地展露裸體模特兒的細節，幾乎令人尷尬。代表作《 女孩與白狗 》（1951-52，倫敦泰德畫廊）、《 熟睡的裸女Ⅱ 》（1968，私人藏）。