Art

Coco Enters her Shop on the Rue Fauborg St. Honore, 1957 -- Photographed in 1957, Coco Chanel is seen entering her boutique in Paris. According to LIFE, Coco is “…credited with eithe...

Vanity Fair Butterfly Robe Back -- Vanity Fair lingerie photographed by Mark Shaw for an award winning campaign over the course of ten years. THE 24” x 36” SIZE OF THIS IMAGE IS ONLY...

Coco in Mirrors with Unidentified Woman, 1957 -- Mark Shaw's informal, grainy, black and white images of Coco Chanel were created using an unobtrusive 35mm camera and film processing...

Ferreras Corset -- An award winning corset design by Miguel Ferreras photographed by Mark Shaw for LIFE in 1961. THE 24” x 36” SIZE OF THIS IMAGE IS ONLY OFFERED IN AN EDITION OF 15....

Elizabeth Taylor in Yellow Chiffon, Looks Toward Camera, mid_1, 1961 -- Mark Shaw was sent by LIFE to photograph Elizabeth Taylor for the April 28, 1961 issue. The images he took wer...

Coco Lies on Divan, 1957 -- This photo, published in LIFE in 1957, shows Coco Chanel, aged 74, at her apartment on the Rue Cambon in Paris reclining on her massive divan. In notes ta...

Orange Scarf on Beach at Trouville, 1957 -- A model on the beach at Trouville near Deauville, photographed by Mark Shaw for LIFE for the January 14, 1957 ...

Coco in Her Wall of Mirrors Alone, 1957 -- Photographer Mark Shaw adjusts French film actress Jeanne Moreau's hair. Mark Shaw's informal, grainy, black and white images of Coco Chane...

Designers’ Homes Gray Suit Smoking, 1960 -- Photographed by Mark Shaw in 1960 for a Life magazine article about Paris couture, this previously unpublished spread never made it into t...

Designers' Homes' Pink Girl Peeking -- Model wearing a Dior couture gown in a grand Parisian residence. This was an outtake from a story photographed for Lif...

Designer's Homes Bucket Hat -- Model Monique Chevalier in a Dior creation, photographed for 1960 issue of Life in the 17th century home of Suzanne Luling, Directrice of Dior. THE 24” x 36” SIZE OF THIS IMAGE IS ONLY OFFERED IN AN EDITION OF 15. Image size is 40" x 40" (for 44" x 44" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. Fashion photography of Dior model Monique Chevalier. She is wearing a grey coat with four large buttons with a bucket hat. She is also wearing long black gloves. She is standing with on arm in her pocket and her other hand pointing at her chest. This is also an interior shot of Suzanne Luling home. She is standing in a room. She is framed by two sculptures of a woman holding a tree. Behind her, there is a table with a lamp with faux candlesticks. In the background, there are cream curtains...

Designers' Homes Two Girls in Pink and Black -- Two models wearing Dior couture gowns in a grand Parisian residence; an outtake from a story photographed for LIFE in 1958. THE 24” x ...

Designer's Homes Smoking Black Dress, 1960 -- Gitta Schilling in a Dior gown photographed for LIFE in 1960. The ornate interior is the 17th century home of Suzanne Luling, then direc...

Backstage Balmain Dressing with Sunglasses -- Backstage at the 1954 Pierre Balmain Couture show. Image size is 40" x 59" (for 44" x 63" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. Fashion photography in color of backstage at the 1954 Pierre Balmain Couture show. A model in a white and black ballgown...

Backstage Balmain Floral Shawl -- Backstage at the 1954 Pierre Balmain Couture show. Image size is 40" x 59" (for 44" x 63" paper size). All Mark Shaw pr...

Designers' Homes, Viky Reynaud in Desses with Dahlias -- Photographed by Mark Shaw for a November 1953 issue of LIFE, socialite Viky Reynaud, a recent high school graduate, models a ...

Backstage Balmain Blue Bejeweled -- Backstage at the 1954 Pierre Balmain Couture show. Image size is 40" x 59" (for 44" x 63" paper size). All Mark Shaw prints are made to order in l...

Guy Laroche Sketches Model -- Fashion Designer Guy Laroche is shown sketching a model wearing one of his ensembles. Photographed by Mark Shaw for LIFE in 1954. Image size is 40" x 59...

Backstage Balmain Beige Suit -- Mark Shaw often photographed backstage at the couture shows in Paris. This image shows a model at the Balmain show wearing a...

1920's Backdrop Close Up Girl in Black Hat -- Models in 1920s style couture photographed for LIFE by Mark Shaw in 1961.Backdrop is from " The Crazy Years," a Parisian movie of that "...

Backstage Mirror Girls in Black and White, 1954 -- Backstage at the 1954 Pierre Balmain Couture show. Image size is 40" x 59" (for 44" x 63" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. Fashion photography of backstage at the 1954 Pierre Balmain Couture show. Two women are backstage by mirrors. One woman is wearing a black dress and the other woman...

Yves St. Laurent with Bolts of Fabric -- Fashion Designer Yves St. Laurent in his studio as photographed by Mark Shaw. Image size is 40" x 59" (for 44" ...

Backstage Balmain Blonde in Choker, 1954 -- Backstage at the 1954 Pierre Balmain couture show. Image size is 40" x 59" (for 44" x 63" paper size). All Mark Shaw prints are made to or...

Backstage Balmain Black Top White Skirt -- Backstage at the 1954 Pierre Balmain couture show. THE 24" x 36" SIZE OF THIS IMAGE IS ONLY OFFERED IN AN EDITION OF 15. Image size is 40" ...

Designers' Homes, Mrs. Guinness in Black Lace Dior -- Dior black lace gown. Photographed for March 1959 issue of Life Magazine. Mrs. Patrick Guinness models in her mother's home. Image size is 40" x 40" (for 44" x 44" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. Fashion photography in color of Mrs. Patrick Guinness wearing a Dior black lace gown. Mrs. Guinness is wearing a black lace veil...

1920's Backdrop Three White Cocktail Dresses -- Models in 1920's style Dior "Slim Look Line" couture photographed for LIFE by Mark Shaw in 1961. Backdrop is from " The Crazy Years," a Parisian movie of that "fun-loving" time. Image size is 40" x 40" (for 44" x 44" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. Fashion photography of three models dressed in white cocktail dresses. The three women are posing with a red table and red chair. On the left, a model is standing by the table. She has short black hair. She is wearing a white cocktail dress with lace. She also has a shawl. The model in the center is standing on the table. She has short black hair and a glittery cocktail dress. The model on the right is wearing a white cocktail dress with frills at the bottom. She has short brown hair and has multiple pearl necklaces...

Backstage Balmain Getting Zipped -- Backstage at the 1954 Pierre Balmain Couture show. THE 24” x 36” SIZE OF THIS IMAGE IS ONLY OFFERED IN AN EDITION OF 15. Image size is 40" x 59" (...

Designer’s Homes, Mrs. Guinness in Black Lace Dior, adjusted to increase brightness for the Dior Book -- Photographed for March 1959 issue of Life Magazine. Mrs. Patrick Guinness mod...

Designer'sHomes Beige Cape, 1960 -- Photographed for a March 1960 issue of Life Magazine. The Dior clad model is in the living room of legendary interior designer, Henri Samuel. THE 24” x 36” SIZE OF THIS IMAGE IS ONLY OFFERED IN AN EDITION OF 15. Image size is 40" x 40" (for 44" x 44" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. Fashion photography of a model wearing a Dior beige cape. She is also wearing a tall decorative hat. This is also an interior photograph of Henri Samuel's home. His home has wooden flooring...

Designer's Homes Pink Suit, 1960 -- Dior clad Christa Vogel photographed in a fine Parisian residence for a March 1960 issue of LIFE magazine. This image is ...

1920's Backdrop Three Black Gowns -- Models in 1920s style couture photographed for LIFE by Mark Shaw in 1961. Backdrop is from "The Crazy Years," a Parisian movie of that "fun-loving" time. THE 24” x 36” SIZE OF THIS IMAGE IS ONLY OFFERED IN AN EDITION OF 15. Image size is 40" x 40" (for 44" x 44" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. Fashion photography in color of three models in black gowns. All three are standing in front of a 1920's backdrop. On the left, the model is wearing a black gown with silver hatched lines and a sheer black wrap. Her hair is in a short black bob. In the center, the model is wearing a black grey gown...

1920’s Backdrop Dior Two Models in Blue and Pink, 1961 -- Models in 1920's style Dior "Slim Look Line" couture photographed for LIFE by Mark Shaw in 1961. Backdrop is from "The Crazy...

Chagall, Ivy and “Le Soliel Rouge” Vertical, 1955 -- Marc Chagall shown in his studio in Vence, France. Photographed by Mark Shaw for LIFE magazine in 1955. This LIFE story featured ...

Jacky Models at Dufy’s Villa -- Photographed for LIFE in 1955, two years after Dufy's death in 1953, this image was shot in Dufy's salon in the Villa de Gue...

Mark Shaw’s file of “test shots” was full of budding stars -- these December 1958 head shots of Jane Fonda were never published. Image size is 40" x 40" (for 44" x 44" paper size). A...

Male Illustrator Sitting at Work Table -- Mark Shaw's job often was to photograph people at work. This fashion illustrator appears to be in the middle of a big project! Image size is...

Miro Portrait in Blue, Vertical 1955 -- Joan Miro photographed for LIFE magazine in his tiny studio in Barcelona by Mark Shaw in 1955. This LIFE story fe...

Jackie Swings Caroline -- Jackie swings Caroline in the shallows at Hyannis Port in 1959. Image size is 40" x 59" (for 44" x 63" paper size). All Mark Shaw prints are made to order i...

Beach White Chair -- A classic 1950s beach image photographed by Mark Shaw for Mademoiselle. Image size is 40" x 50" (for 44" x 54" paper size). All Mark S...

JFK, JBK Relax and Smoke c_05_05. Image size is 22" x 32" (for 24" x 36" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. A black and white photograph of Jackie Kennedy and John F. Kennedy. Jackie Kennedy is sitting on a sofa chair and is laying back. She has her legs crossed and her hands rest on the armrests. She looks and John F. Kennedy. JFK is sitting on the sofa with his arm resting on the sofa back. He has his legs crossed and is smoking. JFK has his back to the camera and is out of focus. This is also an interior shot. They are relaxing in a living room. There is a sofa and sofa chair. A coffee table with books...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the color saturated 1980's. A portrait by Leonardo da Vinci, nail polish, a pink rose, pocket watch, green pear. "Leonardo's Lady" a still life tableaux. Audrey L. Flack (born May 30, 1931 in New York City, New York) is an American artist. Her work pioneered the art genre of photorealism; her work encompasses painting, sculpture, and photography. From Audrey Flack: 12 Photographs 1973 to 1983. A set of this portfolio is in the collections of the Harvard Art Museums. The Kodakchrome photos were photgraphed with a NIkon camera, the Ektachrome photographs were taken with a Hasselblad camera. Each negative was printed on a 20 X24 inche fiber based paper, dry mounted wth seal MT5 dry mounting tissue to 4 ply 100% cotton fiber board by Arnon Ben-David and Ari Rivera Gonzales under the supervision of Carol Brower. Flack has numerous academic degrees, including both a graduate and an honorary doctorate degree from Cooper Union in New York City. Additionally she has a bachelor's degree in Fine Arts from Yale University and attended New York University Institute of Fine Arts where she studied art history. In May 2015, Flack received an honorary Doctor of Fine Arts degree from Clark University, where she also gave a commencement address. Flack's work is displayed in several major museums, including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum. Flack's photorealist paintings were the first such paintings to be purchased for the Museum of Modern Art’s permanent collection, and her legacy as a photorealist lives on to influence many American and International artists today. J. B. Speed Art Museum in Louisville, Kentucky, organized a retrospective of her work, and Flack’s pioneering efforts into the world of photorealism popularized the genre to the extent that it remains today. Flack attended New York's High School of Music & Art. She studied fine arts in New York from 1948 to 1953, studying under Josef Albers among others. She earned a graduate degree and received an honorary doctorate from Cooper Union in New York City, and a Bachelor of Fine Arts from Yale University. She studied art history at the Institute of Fine Arts, New York University. 1953 New York University Institute of Fine Arts, New York City 1952 BFA, Yale University, New Haven, Connecticut 1948-51 Cooper Union, New York City Career Flack's early work in the 1950s was abstract expressionist; one such painting paid tribute to Franz Kline. Most influential amongst her early supporters was the Bauhaus artist Josef Albers. It was he who persuaded Flack to take up a scholarship at Yale with the mission of shaking up the institution's stuffy academic reputation. The ironic kitsch themes in her early work influenced Jeff Koons. But gradually, Flack became a New Realist and then evolved into photorealism during the 1960s. Her move to the photorealist style was in part because she wanted her art to communicate to the viewer. She was the first photorealist painter to be added to the collection of the Museum of Modern Art in 1966. Between 1976 and 1978 she painted her Vanitas series, including the piece Marilyn. The critic Graham Thompson wrote, "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism, radical realism, or hyper-realism and painters like Richard Estes, Chuck Close, and Audrey Flack as well, often worked from photographic stills to create paintings that appeared to be photographs." In the early 1980s Flack's artistic medium shifted from painting to sculpture. She describes this shift as a desire for "something solid, real, tangible. Something to hold and to hold on to." Flack discusses the fact that she is self-taught in sculpture. She incorporates religion and mythology into her sculpture rather than the historical or everyday subjects of her paintings. Her sculptures often demonstrate a connection to the female form, including a series of diverse, heroic women and goddess figures. These depictions of women differ from those of traditional femininity, but rather are athletic, older, and strong. As Flack describes them: "they are real yet idealized... the 'goddesses in everywoman.'" Flack has claimed to have found the photorealist movement too restricting, and now gains much of her inspiration from Baroque art. Flack is currently represented by the Louis K. Meisel Gallery and Hollis Taggart Galleries. Her work is held in the collections of museums around the world, including the Metropolitan Museum of Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Allen Memorial Art Museum, and the National Gallery of Australia in Canberra, Australia. She was awarded the St. Gaudens Medal from Cooper Union, and the honorary Albert Dome professorship from Bridgeport University. She is an honorary professor at George Washington University, is currently a visiting professor at the University of Pennsylvania and has taught and lectured extensively both nationally, and internationally. Flack lives and works in New York City and Long Island. Audrey Flack is best known for her photo-realist paintings and was one of the first artists to use photographs as the basis for painting. The genre, taking its cues from Pop Art, incorporates depictions of the real and the regular, from advertisements to cars to cosmetics. Flack's work brings in everyday household items like tubes of lipstick, perfume bottles, Hispanic Madonnas, and fruit. These inanimate objects often disturb or crowd the pictorial space, which are often composed as table-top still lives. Flack often brings in actual accounts of history into her photorealist paintings, such as World War II' (Vanitas) and Kennedy Motorcade. Women were frequently the subject of her photo realist paintings. In her Neoclassical public sculpture of gilded bronze...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the ...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the color saturated 1980's. Royal Flush, cigars, Jack Daniels Whiskey, cash, playing cards and beer. Boys night out. perfect for the man cave or bachelor pad. Audrey L. Flack (born May 30, 1931 in New York City, New York) is an American artist. Her work pioneered the art genre of photorealism; her work encompasses painting, sculpture, and photography. From Audrey Flack: 12 Photographs 1973 to 1983. A set of this portfolio is in the collections of the Harvard Art Museums. The Kodakchrome photos were photgraphed with a NIkon camera, the Ektachrome photographs were taken with a Hasselblad camera. Each negative was printed on a 20 X24 inche fiber based paper, dry mounted wth seal MT5 dry mounting tissue to 4 ply 100% cotton fiber board by Arnon Ben-David and Ari Rivera Gonzales under the supervision of Carol Brower. Flack has numerous academic degrees, including both a graduate and an honorary doctorate degree from Cooper Union in New York City. Additionally she has a bachelor's degree in Fine Arts from Yale University and attended New York University Institute of Fine Arts where she studied art history. In May 2015, Flack received an honorary Doctor of Fine Arts degree from Clark University, where she also gave a commencement address. Flack's work is displayed in several major museums, including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum. Flack's photorealist paintings were the first such paintings to be purchased for the Museum of Modern Art’s permanent collection, and her legacy as a photorealist lives on to influence many American and International artists today. J. B. Speed Art Museum in Louisville, Kentucky, organized a retrospective of her work, and Flack’s pioneering efforts into the world of photorealism popularized the genre to the extent that it remains today. Flack attended New York's High School of Music & Art. She studied fine arts in New York from 1948 to 1953, studying under Josef Albers among others. She earned a graduate degree and received an honorary doctorate from Cooper Union in New York City, and a Bachelor of Fine Arts from Yale University. She studied art history at the Institute of Fine Arts, New York University. 1953 New York University Institute of Fine Arts, New York City 1952 BFA, Yale University, New Haven, Connecticut 1948-51 Cooper Union, New York City Career Flack's early work in the 1950s was abstract expressionist; one such painting paid tribute to Franz Kline. Most influential amongst her early supporters was the Bauhaus artist Josef Albers. It was he who persuaded Flack to take up a scholarship at Yale with the mission of shaking up the institution's stuffy academic reputation. The ironic kitsch themes in her early work influenced Jeff Koons. But gradually, Flack became a New Realist and then evolved into photorealism during the 1960s. Her move to the photorealist style was in part because she wanted her art to communicate to the viewer. She was the first photorealist painter to be added to the collection of the Museum of Modern Art in 1966. Between 1976 and 1978 she painted her Vanitas series, including the piece Marilyn. The critic Graham Thompson wrote, "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism, radical realism, or hyper-realism and painters like Richard Estes, Chuck Close, and Audrey Flack as well, often worked from photographic stills to create paintings that appeared to be photographs." In the early 1980s Flack's artistic medium shifted from painting to sculpture. She describes this shift as a desire for "something solid, real, tangible. Something to hold and to hold on to." Flack discusses the fact that she is self-taught in sculpture. She incorporates religion and mythology into her sculpture rather than the historical or everyday subjects of her paintings. Her sculptures often demonstrate a connection to the female form, including a series of diverse, heroic women and goddess figures. These depictions of women differ from those of traditional femininity, but rather are athletic, older, and strong. As Flack describes them: "they are real yet idealized... the 'goddesses in everywoman.'" Flack has claimed to have found the photorealist movement too restricting, and now gains much of her inspiration from Baroque art. Flack is currently represented by the Louis K. Meisel Gallery and Hollis Taggart Galleries. Her work is held in the collections of museums around the world, including the Metropolitan Museum of Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Allen Memorial Art Museum, and the National Gallery of Australia in Canberra, Australia. She was awarded the St. Gaudens Medal from Cooper Union, and the honorary Albert Dome professorship from Bridgeport University. She is an honorary professor at George Washington University, is currently a visiting professor at the University of Pennsylvania and has taught and lectured extensively both nationally, and internationally. Flack lives and works in New York City and Long Island. Audrey Flack is best known for her photo-realist paintings and was one of the first artists to use photographs as the basis for painting. The genre, taking its cues from Pop Art, incorporates depictions of the real and the regular, from advertisements to cars to cosmetics. Flack's work brings in everyday household items like tubes of lipstick, perfume bottles, Hispanic Madonnas, and fruit. These inanimate objects often disturb or crowd the pictorial space, which are often composed as table-top still lives. Flack often brings in actual accounts of history into her photorealist paintings, such as World War II' (Vanitas) and Kennedy Motorcade. Women were frequently the subject of her photo realist paintings. In her Neoclassical public sculpture of gilded bronze angels...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the color saturated 1980's. "In My Life" featuring flowers, a lit candle, dice, an Oriental rug, music notes. a pocket watch and a small porcelain box...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the color saturated 1980's. "Rolls Royce Lady" featuring a sculpture the Spirit of Ecstasy, a crystal goblet, dice, flowers, a pocket watch, jewelry, perfume and a red rose. Audrey L. Flack (born May 30, 1931 in New York City, New York) is an American artist. Her work pioneered the art genre of photorealism; her work encompasses painting, sculpture, and photography. From Audrey Flack: 12 Photographs 1973 to 1983. A set of this portfolio is in the collections of the Harvard Art Museums. The Kodakchrome photos were photgraphed with a NIkon camera, the Ektachrome photographs were taken with a Hasselblad camera. Each negative was printed on a 20 X24 inche fiber based paper, dry mounted wth seal MT5 dry mounting tissue to 4 ply 100% cotton fiber board by Arnon Ben-David and Ari Rivera Gonzales under the supervision of Carol Brower. Flack has numerous academic degrees, including both a graduate and an honorary doctorate degree from Cooper Union in New York City. Additionally she has a bachelor's degree in Fine Arts from Yale University and attended New York University Institute of Fine Arts where she studied art history. In May 2015, Flack received an honorary Doctor of Fine Arts degree from Clark University, where she also gave a commencement address. Flack's work is displayed in several major museums, including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum. Flack's photorealist paintings were the first such paintings to be purchased for the Museum of Modern Art’s permanent collection, and her legacy as a photorealist lives on to influence many American and International artists today. J. B. Speed Art Museum in Louisville, Kentucky, organized a retrospective of her work, and Flack’s pioneering efforts into the world of photorealism popularized the genre to the extent that it remains today. Flack attended New York's High School of Music & Art. She studied fine arts in New York from 1948 to 1953, studying under Josef Albers among others. She earned a graduate degree and received an honorary doctorate from Cooper Union in New York City, and a Bachelor of Fine Arts from Yale University. She studied art history at the Institute of Fine Arts, New York University. 1953 New York University Institute of Fine Arts, New York City 1952 BFA, Yale University, New Haven, Connecticut 1948-51 Cooper Union, New York City Career Flack's early work in the 1950s was abstract expressionist; one such painting paid tribute to Franz Kline. Most influential amongst her early supporters was the Bauhaus artist Josef Albers. It was he who persuaded Flack to take up a scholarship at Yale with the mission of shaking up the institution's stuffy academic reputation. The ironic kitsch themes in her early work influenced Jeff Koons. But gradually, Flack became a New Realist and then evolved into photorealism during the 1960s. Her move to the photorealist style was in part because she wanted her art to communicate to the viewer. She was the first photorealist painter to be added to the collection of the Museum of Modern Art in 1966. Between 1976 and 1978 she painted her Vanitas series, including the piece Marilyn. The critic Graham Thompson wrote, "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism, radical realism, or hyper-realism and painters like Richard Estes, Chuck Close, and Audrey Flack as well, often worked from photographic stills to create paintings that appeared to be photographs." In the early 1980s Flack's artistic medium shifted from painting to sculpture. She describes this shift as a desire for "something solid, real, tangible. Something to hold and to hold on to." Flack discusses the fact that she is self-taught in sculpture. She incorporates religion and mythology into her sculpture rather than the historical or everyday subjects of her paintings. Her sculptures often demonstrate a connection to the female form, including a series of diverse, heroic women and goddess figures. These depictions of women differ from those of traditional femininity, but rather are athletic, older, and strong. As Flack describes them: "they are real yet idealized... the 'goddesses in everywoman.'" Flack has claimed to have found the photorealist movement too restricting, and now gains much of her inspiration from Baroque art. Flack is currently represented by the Louis K. Meisel Gallery and Hollis Taggart Galleries. Her work is held in the collections of museums around the world, including the Metropolitan Museum of Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Allen Memorial Art Museum, and the National Gallery of Australia in Canberra, Australia. She was awarded the St. Gaudens Medal from Cooper Union, and the honorary Albert Dome professorship from Bridgeport University. She is an honorary professor at George Washington University, is currently a visiting professor at the University of Pennsylvania and has taught and lectured extensively both nationally, and internationally. Flack lives and works in New York City and Long Island. Audrey Flack is best known for her photo-realist paintings and was one of the first artists to use photographs as the basis for painting. The genre, taking its cues from Pop Art, incorporates depictions of the real and the regular, from advertisements to cars to cosmetics. Flack's work brings in everyday household items like tubes of lipstick, perfume bottles, Hispanic Madonnas, and fruit. These inanimate objects often disturb or crowd the pictorial space, which are often composed as table-top still lives. Flack often brings in actual accounts of history into her photorealist paintings, such as World War II' (Vanitas) and Kennedy Motorcade. Women were frequently the subject of her photo realist paintings. In her Neoclassical public sculpture of gilded bronze angels...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the color saturated 1980's. "Queen" featuring a red rose, paint, a cameo portrait locket, makeup, a chess piece, a pocket watch and a red lucite dice piece . Audrey L. Flack (born May 30, 1931 in New York City, New York) is an American artist. Her work pioneered the art genre of photorealism; her work encompasses painting, sculpture, and photography. From Audrey Flack: 12 Photographs 1973 to 1983. A set of this portfolio is in the collections of the Harvard Art Museums. The Kodakchrome photos were photgraphed with a NIkon camera, the Ektachrome photographs were taken with a Hasselblad camera. Each negative was printed on a 20 X24 inche fiber based paper, dry mounted wth seal MT5 dry mounting tissue to 4 ply 100% cotton fiber board by Arnon Ben-David and Ari Rivera Gonzales under the supervision of Carol Brower. Flack has numerous academic degrees, including both a graduate and an honorary doctorate degree from Cooper Union in New York City. Additionally she has a bachelor's degree in Fine Arts from Yale University and attended New York University Institute of Fine Arts where she studied art history. In May 2015, Flack received an honorary Doctor of Fine Arts degree from Clark University, where she also gave a commencement address. Flack's work is displayed in several major museums, including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum. Flack's photorealist paintings were the first such paintings to be purchased for the Museum of Modern Art’s permanent collection, and her legacy as a photorealist lives on to influence many American and International artists today. J. B. Speed Art Museum in Louisville, Kentucky, organized a retrospective of her work, and Flack’s pioneering efforts into the world of photorealism popularized the genre to the extent that it remains today. Flack attended New York's High School of Music & Art. She studied fine arts in New York from 1948 to 1953, studying under Josef Albers among others. She earned a graduate degree and received an honorary doctorate from Cooper Union in New York City, and a Bachelor of Fine Arts from Yale University. She studied art history at the Institute of Fine Arts, New York University. 1953 New York University Institute of Fine Arts, New York City 1952 BFA, Yale University, New Haven, Connecticut 1948-51 Cooper Union, New York City Career Flack's early work in the 1950s was abstract expressionist; one such painting paid tribute to Franz Kline. Most influential amongst her early supporters was the Bauhaus artist Josef Albers. It was he who persuaded Flack to take up a scholarship at Yale with the mission of shaking up the institution's stuffy academic reputation. The ironic kitsch themes in her early work influenced Jeff Koons. But gradually, Flack became a New Realist and then evolved into photorealism during the 1960s. Her move to the photorealist style was in part because she wanted her art to communicate to the viewer. She was the first photorealist painter to be added to the collection of the Museum of Modern Art in 1966. Between 1976 and 1978 she painted her Vanitas series, including the piece Marilyn. The critic Graham Thompson wrote, "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism, radical realism, or hyper-realism and painters like Richard Estes, Chuck Close, and Audrey Flack as well, often worked from photographic stills to create paintings that appeared to be photographs." In the early 1980s Flack's artistic medium shifted from painting to sculpture. She describes this shift as a desire for "something solid, real, tangible. Something to hold and to hold on to." Flack discusses the fact that she is self-taught in sculpture. She incorporates religion and mythology into her sculpture rather than the historical or everyday subjects of her paintings. Her sculptures often demonstrate a connection to the female form, including a series of diverse, heroic women and goddess figures. These depictions of women differ from those of traditional femininity, but rather are athletic, older, and strong. As Flack describes them: "they are real yet idealized... the 'goddesses in everywoman.'" Flack has claimed to have found the photorealist movement too restricting, and now gains much of her inspiration from Baroque art. Flack is currently represented by the Louis K. Meisel Gallery and Hollis Taggart Galleries. Her work is held in the collections of museums around the world, including the Metropolitan Museum of Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Allen Memorial Art Museum, and the National Gallery of Australia in Canberra, Australia. She was awarded the St. Gaudens Medal from Cooper Union, and the honorary Albert Dome professorship from Bridgeport University. She is an honorary professor at George Washington University, is currently a visiting professor at the University of Pennsylvania and has taught and lectured extensively both nationally, and internationally. Flack lives and works in New York City and Long Island. Audrey Flack is best known for her photo-realist paintings and was one of the first artists to use photographs as the basis for painting. The genre, taking its cues from Pop Art, incorporates depictions of the real and the regular, from advertisements to cars to cosmetics. Flack's work brings in everyday household items like tubes of lipstick, perfume bottles, Hispanic Madonnas, and fruit. These inanimate objects often disturb or crowd the pictorial space, which are often composed as table-top still lives. Flack often brings in actual accounts of history into her photorealist paintings, such as World War II' (Vanitas) and Kennedy Motorcade. Women were frequently the subject of her photo realist paintings. In her Neoclassical public sculpture of gilded bronze...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the ...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the ...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the color saturated 1980's. "Wheel of Fortune" featuring a tarot card, a skull, lipstick, a crystal necklace, candle, mirror etc. Audrey L. Flack (born May 30, 1931 in New York City, New York) is an American artist. Her work pioneered the art genre of photorealism; her work encompasses painting, sculpture, and photography. From Audrey Flack: 12 Photographs 1973 to 1983. A set of this portfolio is in the collections of the Harvard Art Museums. The Kodakchrome photos were photgraphed with a NIkon camera, the Ektachrome photographs were taken with a Hasselblad camera. Each negative was printed on a 20 X24 inche fiber based paper, dry mounted wth seal MT5 dry mounting tissue to 4 ply 100% cotton fiber board by Arnon Ben-David and Ari Rivera Gonzales under the supervision of Carol Brower. Flack has numerous academic degrees, including both a graduate and an honorary doctorate degree from Cooper Union in New York City. Additionally she has a bachelor's degree in Fine Arts from Yale University and attended New York University Institute of Fine Arts where she studied art history. In May 2015, Flack received an honorary Doctor of Fine Arts degree from Clark University, where she also gave a commencement address. Flack's work is displayed in several major museums, including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum. Flack's photorealist paintings were the first such paintings to be purchased for the Museum of Modern Art’s permanent collection, and her legacy as a photorealist lives on to influence many American and International artists today. J. B. Speed Art Museum in Louisville, Kentucky, organized a retrospective of her work, and Flack’s pioneering efforts into the world of photorealism popularized the genre to the extent that it remains today. Flack attended New York's High School of Music & Art. She studied fine arts in New York from 1948 to 1953, studying under Josef Albers among others. She earned a graduate degree and received an honorary doctorate from Cooper Union in New York City, and a Bachelor of Fine Arts from Yale University. She studied art history at the Institute of Fine Arts, New York University. 1953 New York University Institute of Fine Arts, New York City 1952 BFA, Yale University, New Haven, Connecticut 1948-51 Cooper Union, New York City Career Flack's early work in the 1950s was abstract expressionist; one such painting paid tribute to Franz Kline. Most influential amongst her early supporters was the Bauhaus artist Josef Albers. It was he who persuaded Flack to take up a scholarship at Yale with the mission of shaking up the institution's stuffy academic reputation. The ironic kitsch themes in her early work influenced Jeff Koons. But gradually, Flack became a New Realist and then evolved into photorealism during the 1960s. Her move to the photorealist style was in part because she wanted her art to communicate to the viewer. She was the first photorealist painter to be added to the collection of the Museum of Modern Art in 1966. Between 1976 and 1978 she painted her Vanitas series, including the piece Marilyn. The critic Graham Thompson wrote, "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism, radical realism, or hyper-realism and painters like Richard Estes, Chuck Close, and Audrey Flack as well, often worked from photographic stills to create paintings that appeared to be photographs." In the early 1980s Flack's artistic medium shifted from painting to sculpture. She describes this shift as a desire for "something solid, real, tangible. Something to hold and to hold on to." Flack discusses the fact that she is self-taught in sculpture. She incorporates religion and mythology into her sculpture rather than the historical or everyday subjects of her paintings. Her sculptures often demonstrate a connection to the female form, including a series of diverse, heroic women and goddess figures. These depictions of women differ from those of traditional femininity, but rather are athletic, older, and strong. As Flack describes them: "they are real yet idealized... the 'goddesses in everywoman.'" Flack has claimed to have found the photorealist movement too restricting, and now gains much of her inspiration from Baroque art. Flack is currently represented by the Louis K. Meisel Gallery and Hollis Taggart Galleries. Her work is held in the collections of museums around the world, including the Metropolitan Museum of Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Allen Memorial Art Museum, and the National Gallery of Australia in Canberra, Australia. She was awarded the St. Gaudens Medal from Cooper Union, and the honorary Albert Dome professorship from Bridgeport University. She is an honorary professor at George Washington University, is currently a visiting professor at the University of Pennsylvania and has taught and lectured extensively both nationally, and internationally. Flack lives and works in New York City and Long Island. Audrey Flack is best known for her photo-realist paintings and was one of the first artists to use photographs as the basis for painting. The genre, taking its cues from Pop Art, incorporates depictions of the real and the regular, from advertisements to cars to cosmetics. Flack's work brings in everyday household items like tubes of lipstick, perfume bottles, Hispanic Madonnas, and fruit. These inanimate objects often disturb or crowd the pictorial space, which are often composed as table-top still lives. Flack often brings in actual accounts of history into her photorealist paintings, such as World War II' (Vanitas) and Kennedy Motorcade. Women were frequently the subject of her photo realist paintings. In her Neoclassical public sculpture of gilded bronze...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the ...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the color saturated 1980's. "A course in miracles"" The title, taken from the 1976 book on New Age spiritual guidance encourages speculation about each element in this still life. The amount of roses--three--is a significant number in many religions and mythologies. Besides Jesus and Albert Einstein, Flack included the silent mystic Hindu philanthropist Shree Krishnaji, also known as Baba. Flack used the detail of his face with the roses, hovering above the ocean, in her monumental painting, Baba. Following an illness, she turned to mysticism, framing Christian and Hindu images with Jewish ones in A Course of Miracles of 1983: On the “west” side, a photograph of Albert Einstein and a European Jewish candlestick...