Richard McLean Signed Lithograph, Horse
Unavailable
Artist: Richard McLean
Title: The Boilermaker
Year: 1977
Medium: Lithograph
Edition: 250
Paper Size: 30" x 22"
Richard McLean's paintings re- awaken us to the dormant joy of observation. McLean concerns him- self with apparently sentimental sub- jects to achieve a consummate brutalism. McLean derives his Koda- chromes from the deadly black & white photos of national horse month- lies-magazines dedicated to breed- ing and showmanship, with illustra- tions of handsome horses, their own- ers, trainers, stables and equipage. Horses are not the love of McLean's life: it's the photos he adores and, with their posed formalization of reality, fanatically transmits. Sharp 'Hollywoodian" colors create and heighten the estrangement and such curiously modernist devices as flat- tening the foreground and the back- ground enhance the compositional images by exaggeratedly bringing them to the fore. Despite the cool seriality of his work McLean introduces a psycho- logical element; the more accurate the rendering of the photo and the more exaggerated the realism, the more imaginative the paintings are. McLean and his fellow realists seem to have an almost styleless style. They seem to be able to take their paintings on without the burden of personal style. It is the selection of subjects and individual philosophy that creates a presence of more than mere technical mastery.
Title: The Boilermaker
Year: 1977
Medium: Lithograph
Edition: 250
Paper Size: 30" x 22"
Richard McLean's paintings re- awaken us to the dormant joy of observation. McLean concerns him- self with apparently sentimental sub- jects to achieve a consummate brutalism. McLean derives his Koda- chromes from the deadly black & white photos of national horse month- lies-magazines dedicated to breed- ing and showmanship, with illustra- tions of handsome horses, their own- ers, trainers, stables and equipage. Horses are not the love of McLean's life: it's the photos he adores and, with their posed formalization of reality, fanatically transmits. Sharp 'Hollywoodian" colors create and heighten the estrangement and such curiously modernist devices as flat- tening the foreground and the back- ground enhance the compositional images by exaggeratedly bringing them to the fore. Despite the cool seriality of his work McLean introduces a psycho- logical element; the more accurate the rendering of the photo and the more exaggerated the realism, the more imaginative the paintings are. McLean and his fellow realists seem to have an almost styleless style. They seem to be able to take their paintings on without the burden of personal style. It is the selection of subjects and individual philosophy that creates a presence of more than mere technical mastery.
Rogallery
Long Island, New York
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