Models from abstract paintings in real life - original photo project The real life models
Models from abstract paintings in real life - original photo project The real life models

Video: Models from abstract paintings in real life - original photo project The real life models

Video: Models from abstract paintings in real life - original photo project The real life models
Video: The Most Creative Recreations Of Childhood Photos Ever - YouTube 2024, November
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The prototype for Rudolf Hausner's painting The Yellow Hat. 1955
The prototype for Rudolf Hausner's painting The Yellow Hat. 1955

The project of the young Hungarian photographer Flora Borsi with the self-explanatory title The real life models is a bold attempt to acquaint the viewer with models that were supposedly the prototypes of images from famous paintings by artists of the 20th century.

The prototype for the painting by Pablo Picasso The Woman in the Green Hat. 1939
The prototype for the painting by Pablo Picasso The Woman in the Green Hat. 1939

With the help of some manipulations with the photo editor, Flora brought to life a rather original idea: she wanted to demonstrate how the people from whom Amedeo Modigliani, Kazimir Malevich, Pablo Picasso allegedly painted their paintings would look in real life …

The prototype for the painting by Amedeo Modigliani Portrait of a Polka
The prototype for the painting by Amedeo Modigliani Portrait of a Polka

Abstract painting is characterized by distortion of real facial features and proportions of the human body. However, when this distortion is transferred to real people, it creates a very unusual and even somewhat frightening visual effect. This effect, as conceived by the author, should make a strong impression on the viewer.

The prototype for the painting by Kazimir Malevich Female torso. 1929
The prototype for the painting by Kazimir Malevich Female torso. 1929

The photographer says the following about the goal of his project: “I like to shock people, I like that I can make them smile. Although, of course, my main goal is to convey my emotions to the viewer. It is important for me that he felt how I felt while working on one way or another.”“I like to visualize in my works what is impossible in real life,”says Flora,“yes, I use a photo editor, but more degree in order to give the photographs some kind of finished look, while I try not to be too conspicuous."

Using a photo editor, in many ways, expands the boundaries of creativity. The same opinion is shared by the Swedish photographer Erik Johansson, whose fantastic works delight admirers of his talent.

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