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Benjamin Franklin Portrait (Engraving on paper): By Anne-Rosalie Bocquet Filleul
This portrait is a realistic depiction of Benjamin Franklin in a realistic setting with little focus on the background. This places the visual emphasis on the subject in the frame and his appearance. Because this was painted before the invention of the camera, this indicates that the primary goal of the drawing is to preserve the likeness of Franklin at that time with no alterations. -
Colette Roberts Papers and Interviews with Artists
This interview with artist Mary Bauermeister shows some key points in the transition in painting. Bauermeister mentions a distinct difference between old and modern art, and notes the shift to be around the time of the camera. She also draws connections between her art and the abstraction of poetry. This interview serves as a voice to the changing feelings about painting in this time from photorealism to interpretive abstraction. -
Andrew Lloyd Webber Portrait (Painting): By Brian Bailey
This portrait features a realistic rendering, but uses an abstract foreground and blends the two together. This creates a preservation of his looks, but that preservation is not entirely necessary because of the possibility of photography at the time it was painted. The foreground symbolizes Webber’s involvement in musical theater, but they blend with the portrait through the stars on his suit jacket. This creates a cohesive artwork that shows more about Webber than is captured in a photograph. -
Mummies (Oil Painting); By Sane Wadu
This painting represents the final step on the abstract art journey. Moving from modification of an image to representation of an idea outside of reality. It follows similar goals as previous works by creating a feeling through looking at it, but that feeling does not rely on any reality like the previous two paintings. This image may have started from reality or came from nothing, but the end result remains that of something that has no discernable connection to a real image.