135
135
Richard Learoyd
'TATIANA STANDING', 2011
UNIQUE CIBACHROME PRINT, MOUNTED TO ALUMINIUM. SIGNED IN BLACK FELT TIP PEN ON THE REVERSE OF THE FRAME. WITH INFORMATION ABOUT THE WORK IN FACSIMILE ON A GALLERY LABEL AFFIXED TO THE BACK OF THE FRAME. MOUNTED AND FRAMED.
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135
Richard Learoyd
'TATIANA STANDING', 2011
UNIQUE CIBACHROME PRINT, MOUNTED TO ALUMINIUM. SIGNED IN BLACK FELT TIP PEN ON THE REVERSE OF THE FRAME. WITH INFORMATION ABOUT THE WORK IN FACSIMILE ON A GALLERY LABEL AFFIXED TO THE BACK OF THE FRAME. MOUNTED AND FRAMED.
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Details & Cataloguing

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Richard Learoyd
B.1966
'TATIANA STANDING', 2011
UNIQUE CIBACHROME PRINT, MOUNTED TO ALUMINIUM. SIGNED IN BLACK FELT TIP PEN ON THE REVERSE OF THE FRAME. WITH INFORMATION ABOUT THE WORK IN FACSIMILE ON A GALLERY LABEL AFFIXED TO THE BACK OF THE FRAME. MOUNTED AND FRAMED.
Tirage Cibachrome unique, contrecollé sur aluminium. Signé au feutre noir au verso du cadre. Avec une étiquette de galerie portant les informations de l’œuvre fixée au verso du cadre. Encadré.
Tirage 172,7 x 121,9 cm (print 68 x 48 in.)
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Provenance

Fraenkel Gallery, San Francisco 

Literature

Martin Barnes et Nancy Gryspeerdt, Richard Learoyd: Day for Night, New York, Aperture/San Francisco, Pier 24 Photography, 2015, ill. s.p. (variante).

Catalogue Note

Les portraits très grands formats de Richard Learoyd sont pris à l’aide d’une chambre noire de son invention qui occupe une pièce entière de son studio. Le sujet, lui, est assis dans la pièce adjacente, séparé par un objectif. Sans utiliser de négatif, le photographe projette alors la lumière sur le papier photographique permettant d’obtenir une image sans le moindre grain. La taille massive et la perfection du tirage présenté ici permet de faire le rapprochement avec la précision des toiles de maîtres flamands ainsi que de la photographie française du XIXe siècle.

“I see my work more in the lineage of the French—referring to daguerreotypes: those non-reproducible photographic objects whose multi-planed surface and miraculous depth of field fascinate me. With my work I am interested in the moment when the image becomes dye and color, when the illusion of it being a reflection or projection breaks down. I think you get that sense with daguerreotype images: you see the object before the illusion. With my pictures, the illusion is very strong and breaks suddenly, and often only momentarily, which is something I like.” (Richard Learoyd, ‘Flesh and Bones: Unique Photographs by Richard Learoyd’, interview avec Peggy Roalf, Aperture Magazine, n°199, New York, 2010, p. 44-46.)

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