which painting school became famous for its life size portrait made in realistic style

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Portrait painting

Portrait painting

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See portrait for more about the general topic of portraits.

Self-portrait of Nicolas Régnier painting a portrait of Vincenzo Giustiniani, 1623–24, Fogg Art Museum.

Portrait Painting is a genre in painting, where the intent is to represent a specific human subject. The term 'portrait painting' can also describe the actual painted portrait. Portraitists may create their work by commission, for public and private persons, or they may be inspired by admiration or affection for the subject. Portraits often serve as important state and family records, as well as remembrances.

Historically, portrait paintings have primarily memorialized the rich and powerful. Over time, however, it became more common for middle-class patrons to commission portraits of their families and colleagues. Today, portrait paintings are still commissioned by governments, corporations, groups, clubs, and individuals. In addition to painting, portraits can also be made in other media such as prints (including etching and lithography), photography, video and digital media.

Frans Hals, later finished by Pieter Codde. . 1637. Oil on canvas, 209 × 429 cm. Group portraits were important in Dutch Golden Age painting

It might seem obvious that a painted portrait is intended to achieve a likeness of the sitter that is recognisable to those who have seen them, and ideally is a very good record of their appearance. In fact this concept has been slow to grow, and it took centuries for artists in different traditions to acquire the distinct skills for painting a good likeness.

Technique and practice[edit]

Anthony van Dyck, , 1635–1636, shows profile, full face and three-quarter views, to send to Bernini in Rome, who was to sculpt a bust from this model.

A well-executed portrait is expected to show the inner essence of the subject (from the artist's point of view) or a flattering representation, not just a literal likeness. As Aristotle stated, "The aim of Art is to present not the outward appearance of things, but their inner significance; for this, not the external manner and detail, constitutes true reality."[1] Artists may strive for photographic realism or an impressionistic similarity in depicting their subject, but this differs from a caricature which attempts to reveal character through exaggeration of physical features. The artist generally attempts a representative portrayal, as Edward Burne-Jones stated, "The only expression allowable in great portraiture is the expression of character and moral quality, not anything temporary, fleeting, or accidental."[2]

In most cases, this results in a serious, closed lip stare, with anything beyond a slight smile being rather rare historically. Or as Charles Dickens put it, "there are only two styles of portrait painting: the serious and the smirk."[3] Even given these limitations, a full range of subtle emotions is possible from quiet menace to gentle contentment. However, with the mouth relatively neutral, much of the facial expression needs to be created through the eyes and eyebrows. As author and artist Gordon C. Aymar states, "the eyes are the place one looks for the most complete, reliable, and pertinent information" about the subject. And the eyebrows can register, "almost single-handedly, wonder, pity, fright, pain, cynicism, concentration, wistfulness, displeasure, and expectation, in infinite variations and combinations."[4]

Portrait painting can depict the subject "full-length" (the whole body), "half-length" (from head to waist or hips), "head and shoulders" (bust), or just the head. The subject's head may turn from "full face" (front view) to profile view (side view); a "three-quarter view" ("two-thirds view") is somewhere in between, ranging from almost frontal to almost profile (the fraction is the sum of the profile [one-half of the face] plus the other side's "quarter-face";[5] alternatively, it is quantified 2⁄3, also meaning this partial view is more than half a face). Occasionally, artists have created composites with views from multiple directions, as with Anthony van Dyck's triple portrait of .[6] There are even a few portraits where the front of the subject is not visible at all. Andrew Wyeth's (1948) is a famous example, where the pose of the disabled woman – with her back turned to the viewer – integrates with the setting in which she is placed to convey the artist's interpretation.[7]

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which painting school became famous for its life size portraits made in realistic style – En News

which painting school became famous for its life size portraits made in realistic style Approved answer whose school of painting became famous for life-size portraits in a realistic style Johannes Vermeer | Biography Art Paintings Girl with ... Stylistic features of both pictorial traditions, the Utrecht School and the Rembrandt School, can be found in […]

which painting school became famous for its life size portraits made in realistic style

2023-03-18 13:28

which painting school became famous for its life size portraits made in realistic style

Approved answer

whose school of painting became famous for life-size portraits in a realistic style

Johannes Vermeer | Biography Art Paintings Girl with ...

Stylistic features of both pictorial traditions, the Utrecht School and the Rembrandt School, can be found in Vermeer's early large-scale biblical and mythological paintings, such as Diana and Her Nymphs (c. 1653–1654; also called Diana and Her Attendants) and House of Christ, Mary and Martha ( around 1654–1656).

7 Major Painting Styles - From Realism to Abstract - ThoughtCo

www.thoughtco.com › art-styles-explained-realism7 Major Painting Styles - From Realism to Abstract - ThoughtCo www.thoughtco.com › art-styles-explained-realism CachedRealism. Realism, in which the subject of a painting looks like the real thing rather than being stylized or abstracted, is a style that many people consider true art. Painting. The style of painting emerged with the industrial revolution that took over Europe in the first half of the 19th century. Freed from the invention of the metal paint tube, which allowed artists to go outside the studio, painters began to focus on painting. Impressionism. Impressionism emerged in the 1980s in Europe, where artists such as Claude Monet tried to capture light not with realistic details, but with gesture and illusion. Expressionism and Fauvism. Expressionism and Fauvism are similar styles that began to appear in studios and galleries at the turn of the 20th century. Both are characterized by the use of bold unreal colors to depict life not as it is, but as it appears or appears to the artist.

American Face Portraits - National Gallery of Art

Hendricks came to his project of painting monumental portraits after the time he spent as an art student in Europe studying the art of the old masters. He was fascinated by the oversized "grandiose" portraits of aristocrats and the gradations of black depicted in their clothing.

10 Self-Portrait Masters From Frida Kahlo to Cindy...

It wasn't until the 15th century, when the German painter Albrecht Dürer began creating detailed images of his face and torso, that the self-portrait became its own genre. Since then, artists from Rembrandt to Frida Kahlo have made self-portraits a central theme in their work.

Mona Lisa | History of painting subject Meaning and facts

The Mona Lisa also dubbed the portrait of Francesco del Giocondo's wife, Lisa Gherardini. Italian La Gioconda or French La Joconde oil on poplar panel by Leonardo da Vinci, perhaps the most famous painting in the world.

15th-16th centuries of Northern Europe. - National Art Gallery

In the second half of the 14th century, a large school of art developed in Bohemia, centered in the university city of Prague and patronized by King Charles IV (1316–1378). This style, seen in the diptych The Death of Saint Clare, shares many features with the International Gothic style introduced by French and Italian artists.

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Chuck Close, in full Chuck Thomas Close, (born July 5, 1940, Monroe, Washington, U.S.—died August 19, 2021, Oceanside, New York), American artist noted for his highly inventive techniques used to paint the human face. He is best known for his large-scale Photo-realist portraits. Close began taking art lessons as a child and at age 14 saw an exhibition of Jackson Pollock’s abstract paintings, which helped inspire him to become a painter. He studied at the University of Washington School of Art (B.A., 1962) and at the Yale University School of Art and Architecture (B.F.A., 1963; M.F.A., 1964), and in 1964

Chuck Close

American artist

Alternate titles: Chuck Thomas Close

Written and fact-checked by The Editors of Encyclopaedia Britannica

Last Updated: Article History

Chuck Close See all media

Born: July 5, 1940 Washington

Died: August 19, 2021 (aged 81) New York

Movement / Style: Photo-realism

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Summary

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Chuck Close, in full Chuck Thomas Close, (born July 5, 1940, Monroe, Washington, U.S.—died August 19, 2021, Oceanside, New York), American artist noted for his highly inventive techniques used to paint the human face. He is best known for his large-scale Photo-realist portraits.

Close began taking art lessons as a child and at age 14 saw an exhibition of Jackson Pollock’s abstract paintings, which helped inspire him to become a painter. He studied at the University of Washington School of Art (B.A., 1962) and at the Yale University School of Art and Architecture (B.F.A., 1963; M.F.A., 1964), and in 1964 he won a Fulbright scholarship to study in Vienna. While teaching at the University of Massachusetts at Amherst (1965–67), he gradually rejected the elements of Abstract Expressionism that had initially characterized his work.

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Close’s first solo exhibition included a series of enormous black-and-white portraits that he had painstakingly transformed from small photographs to colossal paintings. He reproduced and magnified both the mechanical shortcomings of the photograph—blurriness and distortion—and the flaws of the human face: bloodshot eyes, broken capillaries, and enlarged pores. To make his paintings, Close superimposed a grid on the photograph and then transferred a proportional grid to his gigantic canvases. He then applied acrylic paint with an airbrush and scraped off the excess with a razor blade to duplicate the exact shadings of each grid in the photo. By imposing such restraints, Close hoped to discover new ways of seeing and creating.

Throughout his career, Close continued to concentrate on portraits—from the neck up—based on photographs he had taken. In addition to self-portraits, the portraits were usually of friends, many of whom were prominent in the art world. These images represent a very human, flawed view of the subjects, given the scale of attention given to imperfections, while also presenting a rather grand, iconic view of the sitters, given the monumental and confrontational quality of the works. During the 1970s and ’80s, Close began to use colour and to experiment with a variety of media and techniques. One technique involved simulating the printing process: he used only cyan, magenta, and yellow and applied one layer of colour at a time to the canvas. He developed one of his most innovative techniques for his “fingerprint series,” in which he inked his thumb and forefinger and pressed them to the canvas to achieve a subtle range of grays. Viewed up close, the whorled patterns of his fingerprints can easily be seen; from a distance the method is unidentifiable, and the fingerprints combine to create an illusionistic whole.

In 1988 a spinal blood clot left Close almost completely paralyzed and confined to a wheelchair. A brush-holding device strapped to his wrist and forearm, however, allowed him to continue working. In the 1990s he replaced the minute detail of his earlier paintings with a grid of tiles daubed with colourful elliptical and ovoid shapes. Viewed up close, each tile was in itself an abstract painting; when seen from a distance, the tiles came together to form a dynamic deconstruction of the human face. In 1998 the Museum of Modern Art in New York City mounted a major retrospective of Close’s portraits. Close has been called a Photo-realist, a Minimalist, and an Abstract Expressionist but, as the 1998 retrospective proved, his commitment to his unique vision and his evolving techniques defy any easy categorization.

Close continued to experiment with portraits at the start of the 21st century, creating a series of large daguerreotypes, an early form of photography. His work continued to appear in exhibitions and group shows, and many major museums acquired his pieces for their collections. In 2018, however, the National Gallery of Art in Washington, D.C., announced that it was canceling a forthcoming exhibition of his amid allegations of sexual misconduct from several of his potential models. Although he apologized for inappropriate comments, Close denied any wrongful actions.

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The Editors of Encyclopaedia Britannica

This article was most recently revised and updated by Amy Tikkanen.

Photo-realism

Photo-realism

art

Alternate titles: super-realism

Written by Lisa S. Wainwright

Fact-checked by The Editors of Encyclopaedia Britannica

Last Updated: Article History

Related Topics: history of photography art

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Photo-realism, also called Super-realism, American art movement that began in the 1960s, taking photography as its inspiration. Photo-realist painters created highly illusionistic images that referred not to nature but to the reproduced image. Artists such as Richard Estes, Ralph Goings, Audrey Flack, Robert Bechtle, and Chuck Close attempted to reproduce what the camera could record. Several sculptors, including the Americans Duane Hanson and John De Andrea, were also associated with this movement. Like the painters, who relied on photographs, the sculptors cast from live models and thereby achieved a simulated reality.

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