Louis K. Meisel - Photorealism in the Digital Age

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Table of Contents

Guide

in the DIGITAL AGE

PHOTOREALISM

Louis K. Meisel

Photorealism in the Digital Age

Artist Name

PHOTOR

REALISM

IN THE

DIGITAL

AGE

LOUIS K. MEISEL

Foreword by

FRANK BERNARDUCCI

Research & Documentation by

ELIZABETH K.

HARRIS

Harry N. Abrams, Inc., Publishers

New York

3:

Bertrand Meniel.

The City That Never Sleeps

. 2012. Acrylic on linen, 52 x 81"

5:

Anthony Brunelli.

View from the Fairmont (Monte Carlo)

. 2011. Oil on polyester canvas, 58 x 102"

7:

Don Jacot.

Times Square, 1937

. 2012. Oil on linen, 40 x 78"

9:

Raphaella Spence.

Vegas, 2011

. 2011. Oil on canvas, 35 x 47"

For my grandsonsBenjamin, Lucas, and Sebastien

Editor: Elisa Urbanelli

Designer: Rachel Willey

Production Manager: Anet Sirna-Bruder

Library of Congress Control Number: 2013935975

ISBN: 978-1-4197-0828-2
eISBN: 978-1-68335-555-7

Text copyright 2013 Louis K. Meisel

Published in 2013 by Abrams, an imprint of ABRAMS. All rights reserved. No portion of this book may be

reproduced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, electronic,

photocopying, recording, or otherwise, without written permission from the publisher.

Abrams books are available at special discounts when purchased in quantity for premiums and promotions as

well as fundraising or educational use. Special editions can also be created to specification. For details, contact

specialsales@abramsbooks.com or the address below.

ABRAMS The Art of Books

195 Broadway, New York, NY 10007

abramsbooks.com

by Frank Bernarducci

ACKNOWLEDGMENTS & PHOTOGRAPH CREDITS

CONTENTS

Photorealism in the Digital Age

Foreword

FOREWORD: THE PHOTOREALISM SERIES

This book is the culmination of a monumental effort by Louis K. Meisel to chart the course of Photorealism from its beginnings

in the 1960s to the present day. The importance of this four-volume series cannot be overstated. Taken together, the books form

almost a catalogue raisonn of an entire genre and serve to solidify the movements contribution to the history of art. Museum

curators, auction houses, collectors, and dealers worldwide use these books constantly as reference and exhibition guides. Most art

museums and libraries count them among their holdings, and individuals interested in Photorealist painting own them and consult

them regularly. The first three books, now out of print, are collectors items, selling for high prices on the Internet and at book fairs.

These books are more than mere gallery catalogues. They present all artists deserving of inclusion regardless of nationality

or gallery representation, and they are an effort to accurately document the paintings of at least two generations of artists whose

output is very small. Whereas some contemporary and modern masters paint thousands of works of art in their lifetimes, the Photo-

realists works are so labor-intensive that ones entire oeuvre might contain only a couple hundred major paintings along with

some watercolors and drawings. Consequently, Photorealist paintings are quite rare and very much in demand, the early works in

particular. The documentation in these books serves to give comfort to collectors and museums as to provenance and authenticity.

Most of the Photorealists are self-taught in their chosen style. Some developed their skills working as graphic artists, as medical

illustrators, or even in the field of art restoration before becoming fine artists. Choosing this style of painting was a bold decision

in part because it is not encouraged in art schools. In fact, this art form has often been ignored by critics. Frankly, it is too difficult,

and few artists have the discipline and ability to pursue it. No one who enters our galleries ever says, My kid can do that. Many

of the younger artists presented in this volume were excited and influenced by the earlier books. Some began exploring methods

and techniques and developing their careers before ever seeing an actual Photorealist painting. They had only the previous books

to refer to.

Within the narrow Photorealist framework, each artists technique is ingeniously unique. What these artists have in common,

however, is a dedication to perfection. Yet they do not merely copy photographs of their own making. Instead they create in each

work a personal vision of the people, places, and things in our everyday lives. A subject that at first glance may seem unimportant

becomes iconic when presented by a true Photorealist. A ketchup bottle, a fire engine, a gumball, a candy cane, a street corner, a

dinerall take on new significance when depicted by a Photorealist painter. One hundred years from now these images will be

even more poignant, as one sees an Edward Hopper painting today. Each of these works, in its own way, is a document of society.

Photorealist paintings are powerful not only because they are technical masterpieces but also because they transcend the reality of

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