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Sherrie and David collaborate on a talk about the movement that defines the very essence of their painting philosophy. They discuss good and bad examples of this movement to explain the difference between Abstract Realism and what most realism relies on—copying.
Sherrie and David collaborate on a talk about the movement that defines the very essence of their painting philosophy. They discuss good and bad examples of this movement throughout the history of Art to explain the difference between Abstract Realism and what most realism relies on—copying. They spoke in front of an audience of artists using images of their own work as well as work from deceased leaders of this movement to make a strong visual impact. Abstract Realism is a term that Sherrie and David have coined to retrospectively explain the difference between the ways great paintings are conceived from how a painter thinks when merely making pictures.
Deeming Rembrandt the father of this movement, they start with a painting of his son Titus that is painted loosely, made real with some finer brushwork in the face. Even though Titian did take the first leap away from “drawing with paint” toward “sculpting with paint,” Rembrandt conceived of painting in a way that was a complete departure from all those who went before him. You’ll see examples from such masters as Rosa Bonheur, J.M.W. Turner, Velazquez and Rembrandt as varying players in this movement called Abstract Realism. But Rembrandt was the first to design abstract ideas with multiple figures. Before him, people like Caravaggio and Velazquez solved the problem by making each figure a separate entity and not part of an abstract shape of light or dark.
This film will change how you think about paint. It quickly becomes apparent that Sherrie and David possess special knowledge about this poetic and powerful movement, Abstract Realism, and they both have a talent and passion for sharing it with others.