Jeanette Pasin Sloan
1980s Photorealist Mixed Media
Acrylic, Color Pencil
Early 2000s Photorealist Still-life Prints
Lithograph
1970s Photorealist Still-life Paintings
Oil
1980s Photorealist Paintings
Mixed Media
1980s Photorealist Still-life Prints
Lithograph
People Also Browsed
Vintage 1960s Japanese Showa Prints
Paper
20th Century Japanese Showa Prints
Paper
Vintage 1960s Japanese Edo Prints
Wood
Mid-20th Century Mid-Century Modern Serving Pieces
Metal, Enamel
1850s Edo Figurative Prints
Paper, Ink, Woodcut
Vintage 1950s Mexican Mid-Century Modern Tableware
Silver
2010s Abstract Geometric Abstract Sculptures
Metal
Early 20th Century French Japonisme Wallpaper
Wood, Paper
20th Century American Baroque Paintings
Canvas, Wood
Antique 19th Century French Paintings
Canvas, Giltwood, Paint
Mid-20th Century American Art Deco Serving Pieces
Aluminum
20th Century Japanese Prints
Paper
2010s Mexican Candlesticks
Copper
Vintage 1920s American Posters
Paper
Mid-20th Century Realist Figurative Prints
Woodcut
2010s Contemporary Still-life Paintings
Oil, Wood Panel
Recent Sales
21st Century and Contemporary Photorealist Still-life Paintings
Oil
American Realist Still-life Drawings and Watercolors
Watercolor
1990s Still-life Prints
Lithograph
1980s Photorealist Still-life Prints
Lithograph
Early 2000s Photorealist Still-life Drawings and Watercolors
Watercolor, Gouache
1990s Photorealist Still-life Prints
Lithograph
Jeanette Pasin Sloan For Sale on 1stDibs
How Much is a Jeanette Pasin Sloan?
A Close Look at Photorealist Art
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.