History of Photorealism

The movement of Photorealism began in the United States during the late 1960s. It puts emphasis on collecting exact visual information, inspired by photography rather than traditional styles of observation. Artists such as Richard Estes, Chuck Close and Ralph Goings are credited as the founders of this movement, some of the first to attempt exact reproduction of photographic imagery in their paintings. Duane Hanson and John De Andrea did the same with sculptural works, though instead of photos cast from live models achieving a similar sense of replicated reality.

Similar to Pop Art, photorealism challenged previous hierarchies deeming what should or should not be a worthy subject to depict. Incorporating and appropriating commercial content and simple scenes of everyday life as the focus its’ work. The use and reliance on mechanical and industrial techniques in creating artwork also mirrored those of preceding pop artists as well as creating an impersonal yet hugely aesthetic effect. Photorealists often project their chosen image onto the canvas rather than drawing it out by hand and use airbrush techniques to mimic the glossy look of a photograph.

Estes urged that photography and painting are closely linked and can be best portrayed through this unique practice of realism artwork. He depicted countless scenes of New York City in this photorealist style, believing it best emulated the aura and atmosphere of Manhattan streets. Architecture has often been a common theme within photorealist art as well as reflection and illusionism. 

Also known as ‘Super-realism’, ‘Sharp Focus Realism’ and ‘Hyperrealism’, this movement was in many ways reactionary to ever growing production of photographic media. Though pop artists shared similar goals, photorealists attempted to reclaim the value of the image as opposed to simply replicate it.

The term ‘Photorealism’ was coined in 1969 by Louis K. Meisel, appearing in print a year later as part of the Whitney Museum Catalogue. In 1973 Meisel was asked to develop a five-point definition of this term for Stuart M. Speiser who wished to commission a large collection of Photorealist art. This collection was later donated to the Smithsonian Museum having traveled and shown in a variety of establishments known as ‘Photo-Realism 1973: The Stuart M. Speiser Collection.’