(see also the post Chuck Close at work part 1 that showed the process of his post-photorealistic, prismatic grid work)
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Chuck Close painting Mark 1978-79 (108 x 84 inches or 9 x 7 feet) from Chuck Close Work page 86 |
Notice the 5 reference photos : magenta color separation, cyan color separation, then magenta+cyan color separation so he can check his progress, yellow color separations and magenta+cyan+yellow (the full color photo).
Chuck Close's approach to photorealistic painting is not what I expected. To achieve a slick photorealistic you pretty much have to approach it from a strict mechanical process but this wasn't what I expected. But it seems like a sensible approach : simplification and the use of technology.
He appears to begin, from top to bottom dividing the image into sections. A section is then painted from the magenta separation and once that is done that section is painted from the cyan separation with the magenta+cyan proof as an added reference. Then the section is painted guided by yellow separation. Only once the section is completed does he move on to another section
He appears to begin, from top to bottom dividing the image into sections. A section is then painted from the magenta separation and once that is done that section is painted from the cyan separation with the magenta+cyan proof as an added reference. Then the section is painted guided by yellow separation. Only once the section is completed does he move on to another section
Personally, I prefer his later "prismatic grid" works. Once you've seen a couple giant portraits they lose their uniqueness. They become enlarged photos. Photos enlarged by a very time consuming mechanical process like Chuck Close is an Epson printer. That is the point some might say but …
Pictures from the book Chuck Close Work by Christopher Finch (2010).