The exhibition at the Ludwig Museum Budapest is the first comprehensive presentation of Glenn Brown’s work: realised as a result of cooperation with Tate Liverpool and Fondazione Sandretto Re Rebaudengo in Turin. His meticulously painted canvases may appear to be reproductions enlarged to enormity, while the effects of computer image-processing programs can also be observed in his more recent paintings. His paintings with a mirror-smooth surface recall the illusion of the trompe l’oeil technique, delusive tricks used by the old masters. He imitates Expressionist brushstrokes: the paintings of Willem de Kooning, Karel Appel or Frank Auerbach, but the final result is not a copy of the original picture, but rather a hyper-realistic copy of its reproduction. He employs images taken from albums or from the internet, adopting imagery from the masters canonised in art history (Rembrandt, Fragonard, Dalí) as well as from lesser-known 19th century painters (John Martin or Bertalan Székely), or even from illustrators of sci-fi books (Chris Foss, Adolf Schaller or Tony Roberts). Glenn Brown‘s (Hexam, 1966) paintings derive from existing images, often of art historical significance, or sometimes appropriated from popular culture: the primary source of his art is artistic reproduction. In cooperation with Tate Liverpool and Fondazione Sandretto re Rebaudengo, Turin Curated by: Laurence Sillars, Francesco Bonami
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