American painter and . He studied (1960–65) at the University of Washington, Seattle, at Yale University and at the Akademie der Bildenden Künste in Vienna. During this period he painted works, influenced by the American art of the previous two decades. After a brief experiment with constructions, he began copying black-and-white photographs of a female nude in colour on to . He incorporated every detail of the and allowed himself no interpretative freedom. Working from photographs enabled him to realise the variations in focus due to changing depth of field, something impossible when working from life. He continued in the black-and-white style until 1970, when he began to use colour again. With a similarly limited range of model photographs, he experimented with various types of colour marking. The and Robert/104,072
(1973–4; New York, MOMA), for example, is made from 104,072 separate colour squares. Other techniques included the use of fingerprint marks and pulp fragments. This concern with modes of links him to as well as, more obviously, to . For the colour he used acrylic, ink and among other , and built the works up using only cyan, magenta and yellow, thus imitating mechanical reproduction techniques. Close also made occasional prints, such as the Keith/Mezzotint
(1972; see Lyons and Storr, p. 162). In the 1980s he worked with handmade papers and also produced images pieced together from huge polaroid photographs.
Chuck Close (exh. cat. by H. Kern, Munich, Kstraum, 1979)
Close Portraits (exh. cat. by M. Friedman and L. Lyons, Minneapolis, MN, Walker A. Cent., 1980)
L. Lyons and R. Storr: Chuck Close (New York, 1987)