the broad

Vermeer, Portrait of the Artist in his Studio

Malcolm Morley
acrylic on canvas
105 x 87 in. (266.7 x 220.98 cm)

Supercalifragilistic, super realistic. Yadadadadadada (singing).

Wait, wait. What? The artist Malcolm Morley is known for creating the style known as super realism. Take a close look at the work. Go on. I'll wait. See how every part of the canvas is worked over with incredible detail? How does Malcolm do this? How can he see and paint with such attention? Is this a painting, even? It's a painting of a poster of a painting. This is getting weird. Let's break it down.

This work is called Vermeer Portrait of the Artist in His Studio. It is indeed a painting of a poster of a painting. The painting from the poster is from the 1600s by the Dutch painter Johannes Vermeer. If you compare Malcolm's painting to Johannes' it is quite different. The colors in Malcolm's version are not the same as they were in the Golden Age of Dutch painting. Actually, Malcolm's painting looks a lot more like a cheaply made print than a famous painting.

Malcolm has gone so far as to include printed information from the reproduction at the bottom of his painting. It says "An Abrams color print." That's pretty funny because this is indeed a painting, not a color print.

Malcolm's technique for his super realistic style is helped by the use of a grid. He works on one area of the grid at a time and using a magnifying glass, he carefully reconstructs the image. Look at the off white border of the painting. It is just as rich in detail as the face of the female model, including all of the scuffs and marks of the reproduction from which he is working.

“Vermeer, Portrait of the Artist in his Studio” is a copy of a copy of a painting. Starting with a museum poster of Johannes Vermeer’s The Art of Painting, c. 1666, Malcolm Morley divided the image into smaller sections and then placed the individual sections in an expansive grid across the canvas. Using a magnifying glass, Morley slowly reconstructed the image, piece by piece. When Morley’s “super-realistic” paintings appeared in the late 1960s, they were among the first works to explore issues of appropriation and originality in art, critical ideas that would come to define decades of discourse.

Malcolm Morley is known for his continual pictorial innovations throughout the course of his fifty-year painting career. Born in Britain, Morley moved to the United States in 1958 where he encountered the height of abstract expressionism and the rise of color field painting. Working through these styles, Morley developed a method for linking theories of abstraction with a realistic pictorial subject in super-realism, a movement that he is credited with founding. In the late 1970s, Morley, partially through his interaction with psychoanalysis, turned to making highly personal paintings constructed from watercolor collages. These works are regarded as the direct forebears to 1980s neo-expressionism.
Often Morely takes a postcard, brochure, or poster as his starting image, painting everything in the picture including captions and white negative space. For these super-realist works, Morley divides the image into smaller sections and then places the individual sections in an expansive grid across the canvas. Using a magnifying glass, Morley patiently reconstructs the image, piece by piece, on the large canvas. Vermeer: Portrait of the Artist in His Studio, 1968, is an example of Morley’s super-realism, employing his method to build up an image of a museum poster of a Johannes Vermeer painting. Morley’s appropriation of the Vermeer image directly precedes and cannily predates the rise of appropriation of 1970s conceptual art.
Age of Catastrophe, 1976, reuses one of Morley’s earlier paintings from 1966, SS Amsterdam in front of Rotterdam. Whereas the original painting, an appropriation of a postcard, showed a cruise ship in a tranquil port, Morley’s reprise of the scene depicts an airplane crashing into the picture, disrupting the earlier super-realistic work. As if responding to the crash, Morley’s surface becomes thick with accumulations of paint, and the image is seemingly knocked out of its perfection. On either side of the central image are “zips,” which Morley acknowledges as a reference to the sublime, open spaces of Barnett Newman’s work, saying, “I feel that Barney Newman emptied space and I’m filling it up again.”