While facial hair lends itself just as readily to being portrayed with either smooth or frenzied brushstrokes.
As we’ve seen throughout our Movember-long survey of art history’s best mustaches — the idea of painting a hyperrealist ’stache with every bristle and whisker sharply defined and delineated seems, with good reason, excruciating. Oil Portrait
That has never dissuaded Chuck Close, whose oeuvre includes beards and mustaches aplenty, foremost among them the fellow in “Robert/104,072” (1973-74). Oil Portraits
Close’s affable-looking subject Robert Ellson — a junior high school friend of the artist’s wife — sports a nice, thick ’stache of the sort we’ve alternately seen described as a major, a traincar, and, fittingly, a painter’s brush. T
he latter might be slightly misleading, however, because Close used a spray gun to apply the innumerable dots of ink mixed with acrylic paint in the nearly imperceptible grid of 104,072 squares that gives the painting its incredibly evocative sense of shading and texture.
“To make a piece like this, which took fourteen months, I spent a long time up on a ladder,” Close told the Museum of Modern Art.
Read More: blogs.artinfo.com
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