aphs are used as models to create these paintings, followed by Gerhard Richter’s Photorealism and Over-painted Photographs; who also uses photographs as a major tool for his artistic practice. I will be exploring how a photograph is utilized through out the painting process, and the way it reflects on the painter’s emotional and intellectual aspects .
The investigation of both painters will be carried out by looking at these paintings through the French literary theorist and philosopher Ronald Barthes lens, in which he mainly demonstrates in Camera Lucida. My analysis is based on his perception of the nature and essence of photography theories,along with an analysis of portraiture from a philosophical perspective by Professor and Chair Cynthia Freeland in her essayPortraits in Painting and Photography. Both investigations carryout Barthes essential ‘air’whichwill show how this concept of ‘air’ can be used to understand how both artists use photography as a source material.
I argue that a painter who uses photographs as an aiding tool to his/her creative painting practicesfinds the literalprecise reality through their mechanical accurate depiction of the real, yet finds them lacking the essence or ‘air’. This essence will become visible inthe final piece by the collaboration of both the accurate mechanical reality mean of expressiveness (the photograph) with the physical translation of the emotional and intellectual experiences by the human hand.
With all the new introductions to new materials and techniques and with the enormous evolvement of digital technology in creating art, more inspirational experiences along with an infinite number of inventive traditional and digital techniques allowed artists to intrigue their motives and intentions in unlimited possible directions. In this regard, I will be exploring how has been utilized by contemporary painters to become part of their artistic experience in the 20th and the 21st century, which