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Guess Who (by artist's works!) > Looking at the sky?---Loretta Lux

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message 1: by Heather, Moderator (new)

Heather | 8273 comments

message 2: by Dirk (new)

Dirk Van | 2708 comments Reyes?

message 3: by Heather, Moderator (new)

Heather | 8273 comments Nope. Sorry!

message 4: by Dirk (new)

Dirk Van | 2708 comments Looks Hyper realistic, is it really a painting?

message 5: by Heather, Moderator (new)

Heather | 8273 comments This artist does painting and photography, I’m sorry I didn’t look, it could be a photograph.

message 6: by Heather, Moderator (new)

Heather | 8273 comments When I get back to my PC where I saved the site, I’ll let you know more info about the piece.

message 7: by Ruth (new)

Ruth | 1890 comments Somebody's channeling Andrew Wyeth.

message 8: by Heather, Moderator (new)

Heather | 8273 comments

"fine art photographer known for surreal portraits of young children"

message 9: by Heather, Moderator (new)

Heather | 8273 comments Geoffrey??

message 10: by Gino (new)

Gino Verberckmoes | 13 comments Loretta Lux?

message 11: by Heather, Moderator (new)

Heather | 8273 comments Gino wrote: "Loretta Lux?"

You got it, Gino! Good job! Are you familiar with photography? Have we heard from you yet, or are you new? It's nice to have a new voice! Of course, everyone adds great posts, glad to hear from you!

message 12: by Heather, Moderator (new)

Heather | 8273 comments I thought this one would be a bit more obvious...maybe?

The Hush
Loretta Lux

message 13: by Heather, Moderator (last edited Apr 12, 2019 08:14AM) (new)

Heather | 8273 comments Loretta Lux (born 1969) was born in Dresden, East Germany and is a fine art photographer known for her surreal portraits of young children. She lives and works in Ireland.

Lux has received the Infinity Award for Art from the International Center of Photography. Her work is exhibited widely and held in public collections.

Lux graduated from the Academy of Visual Arts in Munich in the 1990s, and debuted at the Yossi Milo gallery, New York City in 2004.

Lux executes her compositions using a combination of photography, painting and digital manipulation. Her work usually features young children. She trained as a painter at Munich Academy of Art, and is influenced by painters such as Agnolo Bronzino, Diego Velázquez, Phillip Otto Runge.

In her essay, Francine Prose suggests that seeds of her East German upbringing are found in Lux's photographs. "... during Lux's childhood, the state channeled reality through the upbeat fantasy of Socialist realism. This was a society in which the cult of secrecy and surveillance was a daily reality.

message 14: by Heather, Moderator (new)

Heather | 8273 comments

Girl with Marbles

message 15: by Heather, Moderator (new)

Heather | 8273 comments

The Waiting Girl

message 16: by Geoffrey (new)

Geoffrey Aronson (geaaronson) | 930 comments Heather wrote: "Geoffrey??"

Very funny.

message 17: by Heather, Moderator (new)

Heather | 8273 comments Loretta Lux was born in Dresden, Germany, in 1969. In 1989 she left East Germany for Munich, a few months before the fall of the Berlin Wall. From 1990–96, she studied at the Akademie der Bildenden Künste in Munich. Trained as a painter, Lux began taking photographs in 1999. Although Lux first experimented with self-portraits in works like The Hush (1999) and Self-Portrait (2000)


she soon transitioned to images of children and adolescents, typically the offspring of friends who she often used as models. Her subjects, with gazes ambiguously empty yet psychologically activated, assume formal poses and appear in calculated garb and hairstyles. Employing photography, painting, and computer manipulation, Lux alters the images, extracting extraneous details, distorting proportions, and setting the children against mediated backgrounds that exist somewhere between Old Master paintings and cheesy studio-portrait backdrops.

Lux's earliest works set children against icy blue skies, for example in Troll (2000), Lois (2000), and Isabella (2001). In 2001, while the skies continued to serve as backdrops in some works, Lux began to increasingly stage her images within barren pale pink interiors; such images include Hidden Rooms (2001) and Study of a Girl (2002). In several works including The Book (2003), Lux borrowed poses from Balthus, endowing those works with the rigidity and sense of perversion that characterized the French artist's oeuvre.

Lux moved to Ireland in 2004 and increasingly depicted pairs of children rather than the solitary figures that occupied her earlier work. In her images of siblings like The Walk (2004), The Irish Girls (2005), and Hugo and Dylan (2006), the figures are psychologically isolated and physically interact quite gingerly with minimal and half-hearted gestures, perhaps an arm around a shoulder. Lux photographed the twins Sasha and Ruby (2005), girls who again sat for multiple images the artist produced in 2008. In 2007 Lux created her first self-portrait in seven years, this time occupying the pale blue and pink world of the children and bearing their ambiguous, confounding expression.

message 18: by Heather, Moderator (new)

Heather | 8273 comments
Hidden Rooms 1

At first glance, Loretta Lux’s pale, pastel-hued pictures of young children bear a slight resemblance to the generic images found in commercial portrait photography, contemporary advertising, or greeting cards. As benign as they may initially seem, however, the doll-like figures are strangely unsettling. With their porcelain, flawless skin and vacant, glassy eyes, the children seem more like lifeless automatons than living, breathing human beings.

Loretta Lux creates these disquieting images by taking carefully staged photographs of the children of her friends against a white wall in her studio. She then inserts their digitized images over scans of her hand-painted or separately photographed backgrounds—usually empty landscapes or stark, anonymous interiors, as in Hidden Rooms 1 (2001) and Study of a Boy 2 (2002)

Study of a Boy

—Ted Mann

message 19: by Heather, Moderator (new)

Heather | 8273 comments Solo exhibitions of Lux's work have been organized by Stadtmuseum in Muenster (2003), Fotomuseum den Haag in The Hague (2005), Museo de Arte Contemporaneo de Monterrey (2008), and Kulturhuset in Stockholm (2009), among others. Lux's work has also been included in major exhibitions such as Arbeit an der Wirklichkeit, German Contemporary Photography at the National Museum of Modern Art in Tokyo (2005–06), Global Feminisms at the Brooklyn Museum (2007), Family Pictures at the Solomon R. Guggenheim Museum in New York (2007), and the Havana Biennale (2009). In 2005 she received the Infinity Award for Art from The International Center of Photography in New York. Lux lives and works in Monaco.

message 20: by Heather, Moderator (last edited Apr 12, 2019 08:40AM) (new)

Heather | 8273 comments

Sasha and Ruby 4

Study of a Girl 2

The Irish Girls

message 21: by Heather, Moderator (new)

Heather | 8273 comments
Hugo and Dylan 1

Sasha and Ruby

message 22: by Heather, Moderator (last edited Apr 12, 2019 08:45AM) (new)

Heather | 8273 comments The child looks strange somehow. There is something you cannot put your finger on. The head slightly too big, the pupils of the eyes a little too penetrating, perhaps? The image radiates silence, yet this odd little girl is about to beat a drum.

And that one over there, the child looking out of a window. It just doesn't look right, almost as if it is a photograph of a child standing in front of a painting of a window with a landscape beyond.

These are the works of Loretta Lux, the 35-year-old Dresden-born artist: eerily still, minimal and vaguely disturbing photographs.

Lux, trained as a painter and raised by grandparents who introduced her to the works of the Old Masters, began photographing children only six years ago.

Yet she brings to her work the painter's eye - and the history of painting - which sometimes suggests Victorian portraiture and, at other times, has the dislocating calm of a Rene Magritte painting.

Her work has drawn critics to note that the children are "as charming as they are creepy" (The Village Voice) and that "they have the air of self-created beings, a race of tiny Nordic monsters" (New York Times). lux2

Odd the subjects may be, but prints of Lux's work have sold out at international exhibitions and she has been described as a rising star in the art world.

She professes mixed emotions at the reaction she has received. "On the one hand, I was surprised to see people react to the work so strongly because the pictures were so personal to me. On the other hand, I am happy about it because I apparently hit on something existential."

Lux's subjects, usually the children of friends, are dressed and sometimes given odd but symbolic props - a fish, a loaf of bread - then photographed under even, shadowless light. The results are faces and skin which have pale complexions and the visual resonance of porcelain.

Then the work begins. Using Adobe PhotoShop software technology, Lux sometimes slightly manipulates the scale of the heads, hands or torso, and places the child's image into a plain backdrop which she may have painted herself.

The result can suggest Victorian portraiture. But Lux will float the child in space against a featureless background. The children become dissociated from time and, by virtue of the technique, from the context. They float, slightly surreal, in a nowhere world.

Her props may have religious connotations but she also finds other more personal resonances in them. Girl With a Loaf of Bread came from the Hansel and Gretel story she heard as a child. The Fish refers to a favourite toy she used to carry when she was small.

Girl with a Loaf of Bread

The Fish

message 23: by Heather, Moderator (new)

Heather | 8273 comments Lux is a product of her generation - she favours email interviews and uses PhotoShop, which was invented 15 years ago this month - but her work invites older and more traditional artistic references.

Her digitalised dolls, as they have been described, have their origins in portrait works by Raphael, Goya, Velasquez and Botticelli, and she also acknowledges the mystical atmosphere she conjures up has its counterpart in paintings from the Romantic Movement, notably by Casper David Friedrich.

Yet something in the work is also disconcertingly modern: the wide-eyed expression brings to mind the young actor Haley Joel Osment in The Sixth Sense, the silent but powerful children in the 1960 horror film Village of the Damned, or images from Japanese manga.

The sheen of blemish-free perfection, unusual period costume, and the subject's unwavering gaze - combined with the small scale of the works which invite close inspection - draw in observers but at the same time keep them emotionally distant.

Yet though these are works of art and a refined eye, they owe their appearance to the techniques of commercial photography.

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