Foundation Of Photo Realism In The Context Of Art Ontology And Its Semantic Dimension

Photo realism has developed in the Pop-Art movement in the USA in 1960s, and over time has emerged as an understanding of art in its own right. Photo realism, which has increased in popularity over time, continues its existence as an art movement that maintains its influence on an universal scale today. However, photo-realism receives significant criticism in terms of the fact that an existing reality, that is, photography, is reproduced and reflected in picture, is far from authenticity compared to classical art of painting due to the lack of creativity. In this study, the focus is on the authenticity that photo realism carries on its own, in contrast to the criticism directed at photo realism. First, in photo-realism, although the painting is based on photography, the resulting product has a semantic content independent of photography. Because in a world of meaning that ranges from the techniques used by the artist to the material, from his/her personal attitude to his/her style and way of interpretation, photography loses its own existence and turns into a new entity; the mechanical superficiality of photography gains a completely different meaning by re-mixing with the artist's world of emotions and meaning. Briefly, the claim of the study is that photo realism carries an originality and creativity in itself. Based on this claim; after questioning the meaning of photo realism in the context of Contemporary Art ontology, it will be attempted to reveal what the new reality, new understanding of painting, which occurs when the photographic image turns into painting, means in terms of the art of painting.