DUANE HANSON was an American sculptor known for his hyperrealistic works of people. He thought of himself as more of a Vernacularist. Hanson was born in 1925 in Alexandria, Minnesota and died in Boca Raton, florida, in 1996.
DUANE HANSON was an American sculptor known for his hyperrealistic works of people. He thought of himself as more of a Vernacularist. Hanson was born in 1925 in Alexandria, Minnesota and died in Boca Raton, florida, in 1996.
DUANE HANSON was an American sculptor known for his hyperrealistic works of people. He thought of himself as more of a Vernacularist. Hanson was born in 1925 in Alexandria, Minnesota and died in Boca Raton, florida, in 1996.
DUANE HANSON Duane Hanson was born on January 17, 1925 in Alexandria, Minnesota. He died on January 6, 1996 in Boca Raton, Florida. He was an American sculptor known for his hyperrealistic works of people, made of various materials, including polyester resin, fiberglass, Bondo, or bronze. He didnt like to be called a Photorealist. He thought of himself as more of a Vernacularist. Although critics compare his work to figures in a wax museum, the content of his sculptures is more complex and subtly expressive than that normally found in waxworks. CHARACTERISTICS OF HANSON'S ART uses live models then adjusts to fit conception meticulous details of skin and hair sculptures represent a certain situation in life social observer sculptures wear underpants "ugly" American types (i.e. tourists, old people, shoppers, construction workers, etc.) sculptures stare vacantly into space life-size figures dressed in real clothing predominantly middle to lower class people, blue collar service jobs SUPERMARKET SHOPPER 1970 1977 WOMAN WITH DOG 1977 SELF-PORTRAIT WITH MODEL 1979 QUEENIE II 1988 TOURISTS II 1988 OLD COUPLE ON A BENCH 1994 MORE OF HIS WORKS QUOTES FROM HANSON "To me," he says, "basically they're sculptures... I want the whole thing to create a mood that comes through the forms when they're right." "...I always like bringing out the weight and the communication of a certain amount of heaviness that I find in our time - a kind of sadness." "Working in three dimensions has always been a challenge. I think that I've got it down pretty well, now. "I have nothing to do with it, and have suffered from it. When I went to art school, realism was a no-no. You always had to use your imagination and never copy. I see more inside these sculptures than outside. That is what I manipulate to make forms look right and achieve a credibility. I never wanted to be tradition-bound to so-called 'realist' concepts or procedures. I don't even like to discuss it."