NEW ORLEANS, LA.- The New Orleans Museum of Art is presenting Photorealism: The Sydney and Walda Besthoff Collection, the most extensive presentation to-date of the Photorealist painting collection of Sydney and Walda Besthoff. Unveiled on November 7, this exhibition highlights one of the finest photorealist collections in the United States, based in New Orleans, featuring over 75 works.
The Photorealist collection built by Sydney and Walda Besthoff includes many of the artists associated with the first wave of Photorealism in the late 1960s and early 1970s, such as the renowned Chuck Close, Richard Estes, and John DeAndrea, and also encompasses works by more recent generations who are pushing the boundaries of Photorealism. The collection also features a broad range of engaging subject matter, from detailed cityscapes and portraits, to convincingly real close-ups of objects such as motorcycles, cars, toys, fruit, and flowers.
"Since the mid-1970s, the Besthoffs have been committed to carefully selecting work in this field," said Susan M. Taylor, NOMA's Director. "Over time, they have built a collection that displays both breadth and relevance. The public has had the opportunity to view a few of these treasures over the years thanks to the Besthoffs' ongoing commitment to making examples from their collection available for public viewing at the K&B corporate headquarters in downtown New Orleans. This catalogue and exhibition, however, provide the most expansive opportunity to date for the public to examine the excellence and range of this remarkable group of paintings."
Photorealism is loosely defined as painting that is based upon the precise replication of a photograph. This distinction is key in distinguishing Photorealist painting from trompe l'oeil ("fool the eye") paintings, which convincingly replicate scenes or people as they appear in life. A Photorealist painting is not simply "lifelike," it is a translation of a photograph (or several photographs) into a painted image. Photorealism is a process of "seeing" with the gaze of the camera and a completed photograph in mind, an attribute that makes it relevant to discussions on human perception today.
