And dark features of a photograph a close look at the

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and dark features of a photograph, a close look at the variegated brushstrokes of the painting revealed that the Big Nude was more of a prototype for future advancement than a fully fixed picture. Only the sterile whiteness of the canvas mentions of a new style to the figure that might seamlessly marry an instant, unforgiving clear record of a focus with the artist's reexamination of its every element over months of studied, logical dictation. Chuck Close creates his portraits based on photographs, but the finished paintings did not look like large photographs. The artist mostly began with a photo of his sitter and then developed it into a large canvas using gridded lines. Chuck used a picture as his source of painting because it was flat. The photographs are enlarged to a point where they even spill out of the canvas. He created a flickering quality of pointillist patches of color that lend to a twinkle to their eye while exposing their artificiality as images. His portraits were painted in a dotted, faux pointillist style, which nudged them towards disembodiment and allowed them to register the secondhand quality
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COLLEGE ART AND DESIGN 3 of so much 20 th -century experience. In a painstaking, he used a repetitive process to translate the photographs of his sitters to a painted surface, jointly bringing life to their faces that the camera tends to forget. The reduced aptitude of the painter to identify faces is usually known as the
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  • Fall '19
  • Pointillism, Portrait painting

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