1958 Impala

Robert Bechtle is considered one of the founding Photorealists, a set of artists who used photographs as a point of departure for their hyperrealist art.

Bechtle first introduced photographs into his painting technique in 1964 as a studio aid, while painting a scene with his wife Nancy Dalton, whom he often depicted in his work. By 1966, his use of photographs had evolved into an integral component of his process.

Bechtle typically begins by selecting an image, usually his photographs or anonymous snapshots, which he then projects onto the canvas from a slide. Bechtle held a particular fascination with the snapshot, typically amateur photographs of cars, for the nature of the subject matter, its immediacy, and lack of affect. He was attracted to the subversive implications of the photo-based technique for complicating the rigid genre hierarchies he had internalized in art school. Bechtle’s interest in the everyday and the ordinary also reveals the influence of Pop art, which he saw firsthand while traveling in Britain in 1961.

Bechtle’s early Photorealist works are infused with a subtle realism, and an implicit sense of humor pervades his subjects and compositions. His best-known paintings and prints focus on familiar suburban American middle-class subjects and themes, such as the car and the house. Unlike the gestures and lyricism of Diebenkorn and other artists associated with Bay Area Figuration, Bechtle was interested in attaining a more objective approach to realism.

In 1982, Bechtle married the art historian Whitney Chadwick. He is the recipient of numerous awards and honors, including grants from the National Endowment for the Arts (1977, 1982, 1989); John Simon Guggenheim Memorial Foundation (1985); American Academy of Arts and Letters (1995); Francis J. Greenburger Foundation (2002); and the Modern Art Council at the San Francisco Museum of Modern Art (SFMOMA, 2003).

Early notable exhibitions that helped establish Bechtle’s career include group shows at San Francisco Art Institute (1966); Vassar College Art Gallery, Poughkeepsie, New York (1968); and the Milwaukee Art Center (1969). He received his first solo museum exhibition at the San Francisco Museum of Art (now SFMOMA, 1967). Bechtle’s work was also shown in several exhibitions and venues critical to the history of Photorealism, such as Whitney Museum of American Art, New York (1970, 1973); Museum of Contemporary Art, Chicago (1971); Documenta, Kassel, West Germany (1972); Louis K. Meisel Gallery, New York (1973); Samsung Museum of Modern Art, Seoul (2001); and Deutsche Guggenheim, Berlin (2009). In 1991, SFMOMA held a solo exhibition of his work and later mounted a major retrospective in 2005, which traveled to the Modern Art Museum of Fort Worth, Texas (2005), and the Corcoran Gallery of Art, Washington, D.C. (2006). He lives in San Francisco.

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Used to refer to a time rather than an aesthetic, Contemporary art generally describes pieces created after 1970 or being made by living artists anywhere in the world. This immediacy means it encompasses art responding to the present moment through diverse subjects, media and themes. Contemporary painting, sculpture, photography, performance, digital art, video and more frequently includes work that is attempting to reshape current ideas about what art can be, from Felix Gonzalez-Torres’s use of candy to memorialize a lover he lost to AIDS-related complications to Jenny Holzer’s ongoing “Truisms,” a Conceptual series that sees provocative messages printed on billboards, T-shirts, benches and other public places that exist outside of formal exhibitions and the conventional “white cube” of galleries.

Contemporary art has been pushing the boundaries of creative expression for years. Its disruption of the traditional concepts of art are often aiming to engage viewers in complex questions about identity, society and culture. In the latter part of the 20th century, contemporary movements included Land art, in which artists like Robert Smithson and Michael Heizer create large-scale, site-specific sculptures, installations and other works in soil and bodies of water; Sound art, with artists such as Christian Marclay and Susan Philipsz centering art on sonic experiences; and New Media art, in which mass media and digital culture inform the work of artists such as Nam June Paik and Rafaël Rozendaal.

The first decades of the 21st century have seen the growth of Contemporary African art, the revival of figurative painting, the emergence of street art and the rise of NFTs, unique digital artworks that are powered by blockchain technology.

Major Contemporary artists practicing now include Ai Weiwei, Cecily Brown, David Hockney, Yayoi Kusama, Jeff Koons, Takashi Murakami and Kara Walker.

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Decorating with fine art prints — whether they’re figurative prints, abstract prints or another variety — has always been a practical way of bringing a space to life as well as bringing works by an artist you love into your home.

Pursued in the 1960s and ’70s, largely by Pop artists drawn to its associations with mass production, advertising, packaging and seriality, as well as those challenging the primacy of the Abstract Expressionist brushstroke, printmaking was embraced in the 1980s by painters and conceptual artists ranging from David Salle and Elizabeth Murray to Adrian Piper and Sherrie Levine.

Printmaking is the transfer of an image from one surface to another. An artist takes a material like stone, metal, wood or wax, carves, incises, draws or otherwise marks it with an image, inks or paints it and then transfers the image to a piece of paper or other material.

Fine art prints are frequently confused with their more commercial counterparts. After all, our closest connection to the printed image is through mass-produced newspapers, magazines and books, and many people don’t realize that even though prints are editions, they start with an original image created by an artist with the intent of reproducing it in a small batch. Fine art prints are created in strictly limited editions — 20 or 30 or maybe 50 — and are always based on an image created specifically to be made into an edition.

Many people think of revered Dutch artist Rembrandt as a painter but may not know that he was a printmaker as well. His prints have been preserved in time along with the work of other celebrated printmakers such as Pablo Picasso, Salvador Dalí and Andy Warhol. These fine art prints are still highly sought after by collectors.

“It’s another tool in the artist’s toolbox, just like painting or sculpture or anything else that an artist uses in the service of mark making or expressing him- or herself,” says International Fine Print Dealers Association (IFPDA) vice president Betsy Senior, of New York’s Betsy Senior Fine Art, Inc.

Because artist’s editions tend to be more affordable and available than his or her unique works, they’re more accessible and can be a great opportunity to bring a variety of colors, textures and shapes into a space.

For tight corners, select small fine art prints as opposed to the oversized bold piece you’ll hang as a focal point in the dining area. But be careful not to choose something that is too big for your space. And feel free to lean into it if need be — not every work needs picture-hanging hooks. Leaning a larger fine art print against the wall behind a bookcase can add a stylish installation-type dynamic to your living room. (Read more about how to arrange wall art here.)

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