Examining the Elements: Up Close with Chuck Close
Examining the Elements: Up Close with Chuck Close
Jud/Collage, 1982
paper pulp collage on canvas
96 x 72" (243.8 x 182.9 cm)
Many years ago, I had the pleasure of visiting the Virginia Museum of Fine Arts with some fellow students in my Art History class. It was an elective trip - more of an exploratory exercise than a required assignment, so I didn't have to go, but I did and, well, I have never regretted it.
It was during this trip that I first came in contact with the portrait, Jud, by Chuck Close (1982). All these years later, I can still recall how I felt looking at it. It was different from anything I had seen before, it was massive, interesting, raw, and so realistic I thought I was looking at a photograph at first. But once I got closer to the canvas, I realized that this was not a photo or a painting, but a collage comprised of millions of tiny, irregular, pieces of paper that had been painstakingly placed there by hand. It blew my mind.
After reading up on the artist and learning more about him and his work, it became clear that he was a master portraitist. Not only did Close paint and/or construct these "giant heads," as they came to be known, but he took and developed the photograph that he would use as his model for the next several months while working on the portrait. Close wanted his works to be on a larger-than-life scale, something that could not be ignored, that had to be examined up close and personal. He certainly succeeded.
That is exactly how I felt when I first saw Jud. There was simply no ignoring it - no way to simply walk by without stopping and leaning in for a closer look. The more I looked, the more it drew me in. It was an unforgettable work of art - I mean, here I am, 20 years later, still gushing over it!
So, what was it that drew me in and took hold? Was it the form? The texture? The tone? The sense of neutral emotion? The sheer size of the piece? Yes, yes, and yes - all of that and so much more. I love how you can see the crinkled edges of each tiny speck of paper on the canvas. Take a look at the up-close shot below. Do you see that? It's so cool!
The dimension created by the layered paper brings Jud to life. I love the subtle pattern of the paper cascading across Jud's face. Looking at this work helps us to appreciate the simple complexities of the human face, yet see them as something remarkable. We can appreciate the flaws and uniqueness that make up each of our faces by looking at his. We see ourselves in Jud. We identify. Each of these individual elements described here work together to create a visual feast for the senses.
Jud, up close.
If you're anything like me, you'll want to know more about the artist. I feel that I can dive into the art and develop a deeper understanding of the work if I understand the artist, their inspirations, motives, upbringing, etc. I guess I'm a natural researcher, a curious explorer of all things, and trust me, his other works are just as spectacular as Jud. Feel free to keep reading for a bit of background. Check out the links below. The artist is just as fascinating as his work!
Close, at work in his studio:
A Bit About the Artist
Chuck was born in Washington state in 1940. He struggled with dyslexia as a child, and lost his father at a young age. CBS profiled Close on their Sunday morning program in 1981 and again in 1991 (videos embedded below), three years after he suffered a spinal stroke, which left him partially paralyzed. With slight modifications and the help of assistants to prep his canvases, Close was able to continue working.
The following videos provide a fascinating look into his world, which help us to understand his work and the motivations behind it. I love that he only does portraits of his loved ones and friends - never commissioned work or strangers. I imagine it would be difficult to engage with something that feels so impersonal.
References:
Mayer, P. (2021). "Chuck Close, Creator of Gigantic Portraits, Has Died at 81." NPR.org, NPR. 19 August 2021. Chuck Close, Creator of Gigantic Portraits, Has Died at 81
Close, Chuck (1982). http://chuckclose.com/work097.html
This is an amazing piece of art! My first impression was that the texture was made with a thick layer of paint, I was quite surprised to read that it was instead made with paper! The details in the wispy hair he was able to capture with paper are astounding, I’m sure seeing this piece in person would show how the texture of the paper further gives the impression of hair as well. The round paper pieces add to the softness of this art by mirroring the roundness of the paper pieces to the curved lines throughout the piece.
ReplyDeleteI had noticed quickly how much this art had similarities to a photograph, with the soft lighting and slightly out-of-focus blurring on the shoulders. Again, I was surprised to read that the artist referenced a photograph while creating this piece, and he did a wonderful job capturing the photographic elements in his piece.
Thanks for sharing your personal connection with this piece of art!
Chuck Close is a really interesting artist and is why I really wanted to comment on this post. I'm familiar with his 'Self Portrait, 2000' and everything he does, along with his varying styles, is just fascinating. I agree that the form, texture, and tone contribute greatly to the appeal of the piece, along with Allison's prior comment about the additional details within the texture that aren't obvious to the naked eye. It's an art style that early inspires me to get into art more myself. Instead of one extravagant piece, breaking it up into pieces, just like tasks in life, can put the entire journey into perspective.
ReplyDeleteHi April! Wow, this piece does not disappoint! I can’t even imagine how much time, dedication, and frustration that piece caused the artist. At first glance, I thought the texture of the work was painted, but to my utter surprise, each bit of texture is an individual piece of paper! It is one of those pieces that you dream of just gliding your hand across. What is even more mindblowing is when we see the sheer size of the work. You spoke of this in your analysis, but I dove deep into the presentation of it and wow, it is truly jaw-dropping. I’m sure experiencing it in person would be just as influential as it was for you!
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