Sanchez Twins

Baron Wolman is ranked among the 20th century’s elite and most collectible photographers. As the first photographer of Rolling Stone Magazine, he was granted unique access to rock ’n’ roll’s most eponymous and notorious emerging icons, from Bob Dylan to Jimi Hendrix. His reputation with a camera and an eye for talent and a story gave him a ticket to ride the tour buses from Haight Ashbury to Woodstock. His cover stories launched legends and gave him the keys to the dressing rooms and homes of rock ’n’ roll’s biggest stars.

A direct challenge to Abstract Expressionism’s subjectivity and gestural vigor, Photorealism was informed by the Pop predilection for representational imagery, popular iconography and tools, like projectors and airbrushes, borrowed from the worlds of commercial art and design.

Whether gritty or gleaming, the subject matter favored by Photorealists is instantly, if vaguely, familiar. It’s the stuff of yellowing snapshots and fugitive memories. The bland and the garish alike flicker between crystal-clear reality and dreamy illusion, inviting the viewer to contemplate a single moment rather than igniting a story.

The virtues of the “photo” in Photorealist art — infused as they are with dazzling qualities that are easily blurred in reproduction — are as elusive as they are allusive. “Much Photorealist painting has the vacuity of proportion and intent of an idiot-savant, long on look and short on personal timbre,” John Arthur wrote (rather admiringly) in the catalogue essay for Realism/Photorealism, a 1980 exhibition at the Philbrook Museum of Art, in Tulsa, Oklahoma. At its best, Photorealism is a perpetually paused tug-of-war between the sacred and the profane, the general and the specific, the record and the object.

“Robert Bechtle invented Photorealism, in 1963,” says veteran art dealer Louis Meisel. “He took a picture of himself in the mirror with the car outside and then painted it. That was the first one.”

The meaning of the term, which began for Meisel as “a superficial way of defining and promoting a group of painters,” evolved with time, and the core group of Photorealists slowly expanded to include younger artists who traded Rolleiflexes for 60-megapixel cameras, using advanced digital technology to create paintings that transcend the detail of conventional photographs.

On 1stDibs, the collection of Photorealist art includes work by Richard Estes, Ralph Goings, Chuck Close, Audrey Flack, Charles Bell and others.

For centuries, the human figure has held an allure for artists, and those working in photography — a medium celebrated for its documentary properties and its accuracy — have long sought to express humanity in its purest state. Fine nude photography presents an empowering challenge for artists, whether they’re endeavoring to counter traditional ideals of beauty, deeply examine power, sexuality and gender or simply create direct and expressive images of the human form, unguarded and unadorned, simultaneously vulnerable and strong.

While the collection of fine nude photography on 1stDibs includes pioneers of the 20th century — such as Edward Weston, Jack Mitchell and Slim Aarons — many contemporary nude photographers have taken their choice of visual medium in directions that have proven provocative and refreshing.

Self-taught Belgian freelancer Kirsten Thys van den Audenaerde, for example, has ventured into the deserts of Utah with her nude models, working largely with expired Polaroid film to produce wild juxtapositions of pure human forms amid dry and dusty landscapes. Award-winning fashion photographer Ellen von Unwerth redefines the female gaze — her bold and erotic images of celebrities and magazine models have left an indelible mark on the visual landscape of the fashion world.

The study of who and what we are is central to art — find a range of fine nude photography on 1stDibs, including work by Helmut Newton, Robert Mapplethorpe, Stefanie Schneider and others.