Collection Online


Beginning in 1968–69, with formative stages in New York and California, Photorealism involved the production of images that deployed near-microscopic detail to achieve the highest degree of representational verisimilitude possible. Using the photograph as the primary visual reference, artists such as Robert Bechtle, Charles Bell, Chuck Close, Robert Cottingham, Richard Estes, and Audrey Flack painted with the goal of photographic actuation and often included technical or pictorial challenges with a focus on surface, such as glass, reflections, or the effects of light. In some artists’ works, the use of multiple photographic studies for each work transcended the limitations of the singular depth of field of conventional photography.

Full Description
Robert Bechtle, '71 Buick, 1972
Charles Bell, Gum Ball No. 10: "Sugar Daddy", 1975
Chuck Close, Stanley II, 1980–81
Robert Cottingham, Tattoo, 1971
Richard Estes, The Solomon R. Guggenheim Museum, summer 1979
Jeff Koons, Mountains, 2000
Jeff Koons, Niagara, 2000
Jeff Koons, Sandwiches, 2000
Richard McLean, Greentree's Sloe Gim (DOCUMENTA), 1972
Richard McLean, Medalion, 1974