classic portrait faces on modern bodies by dorothee golz
‘the pearl earring’ by dorothee golz
diasec, c-print, 188 x 140 cm
vienna-based artist dorothee golz has created a digitally painted series in which classic portraits have been reimagined as well-recognized drawn faces visualized on modern bodies. golz’s portfolio of hybrid pieces are born from her interest in historical artworks, social structure and the conception of gender roles both the renaissance era and today. the artist repurposes elements from the original work, stripping away the intention of the painter while infusing her own modern conception of the figures pictured.
first, the golz begins by selecting an antiquated painting possessing a photorealistic quality in the vision of the sitter’s face. she then develops a studio setting in which to picture the modern body and renaissance face in a manner which may seamlessly combine both elements in a single still. through the use of strategic lighting and particular positioning of the body of the sitter, the artist is able to re-envision the original artwork as a modern photographic representation. finally, the artist places the painted sitter’s head upon the digital image picturing the figure of a person from today in post production. in this way, golz frees the painted renaissance persons from their stiff posture and conservative dress so that their facial expressions may be more recognizable to a contemporary audience.
‘girl at the window’
diasec, c-print, 110 x 83 cm
‘dürer with girlfriend’
c-print/ diasec 180 x 143 cm
‘punks madonna’
‘anne van cleve’
diasec, c-print, 125 x 95 cm
left: ‘la belle ferroniere’, diasec, c-print, 110 x 90 cm
right: ‘steeple-hat -woman’, diasec, 60 x 45 cm
‘the unconcerned’
diasec, c-print, 180 x 140 cm
left: ‘jeans-madonna’, diasec, c-print, 126 x 95 cm
right:’A.D.’, diasec, 85 x 60 cm
‘holbein before cy twombly’
c-print/ rahmen mit schattenfuge 149 x 124 cm ca. 145x 120 cm c-print / framed
‘madonna mit den weißen federn’
c-print/ diasec 130 x 98cm
left: ‘maria with blue coat’, diasec, 60 x 45 cm
right: ‘cecilia’ c-print/ diasec 60 x 45 cm
‘maria with the ginger hairs’
c-print/ diasec 60 x 45 cm
via visual news / beautiful/decay
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creepy…
AWESOME
so cool
Interesting concept poorly executed.
love it
awsome
good job
More Anne van Cleve please. More nudes. Different models. Love the concept.
We are not big on photoshopping, when a celebrity suddenly looks better but even more so when some innocent person is photoshopped into some compromising position. That is what this seems like to those of us who love these masterpieces, especially with so many sexual views.
Expect more of Designboom.
Soft-core kitsch. Expropriation is often exploitation, isn\’t it.
When these icons are dressed in 21 century clothes, we see them as people, as us. A fantastic project and execution, blissfully lost on most of the above commentators.
And there’s boobies.
i don’t know if i would call it soft-core kitsch or exploitive… didn’t the artist execute the series in this way because she was making a pretty obvious commentary about the way in which the male gaze today expects more of the modern woman than in the past? these women are more easy to identify with for sure.
The idea is fantastic, however I agree that the execution in SOME of them could be better. Keep the good work.
meh
great idea, pls do more.
Somehow I found this a bit creepy….. Human bodies with painted faces…. eeeekkkk
Interesting concept and work. Some of the ‘old’ painted faces suddenly look very hip and modern in this context. I think it is great that you can still see the painterly quality of the faces, otherwise the whole point would be lost.
Interesting concept and work. Some of the \’old\’ painted faces suddenly look very hip and modern in this context. I think it is great that you can still see the painterly quality of the faces, otherwise the whole point would be lost.
but i like it i like it i like it
Excellent concept by the way ! A few compositings could have been better executed, problem of face/body proportion or environment…
Let me tell you why I like these . . . How many shortcuts to thinking? . . . let me count the ways
There is something disturbing here. It’s hard to nail down exactly why… isn’t that a mark of what defines real art? There are also misogynistic undertones, but, are they in these works? Or were they always there in the classic works to start with? Do these works suddenly make us aware of how women were objectified in the original paintings? I dunno, but they make you think, and I think, regardless of the tools that the artist used, that makes them relevant.