Richard McLean

OK Harris Gallery, New York
Acquired from the above by the present owner circa 2000

Louis K. Meisel, Photorealism at the Millennium, New York 2002, cat. no. 176, p. 501, illustrated in color 

This work is in very good condition overall. There is very light evidence of handling along the edges. The colors are bright, fresh and clean. Under Ultraviolet light inspection, a small circular spot in the upper right of the trailer and an area of thin drip accretion along the bottom of the trailer near the wheels fluoresce lightly, but do not appear to be the result of restoration. Framed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Robert Bechtle, Chuck Close, John Salt, and Richard McLean are the giants of contemporary Photorealism. A major art movement of the 20^th century, Photorealism emerged from the margins of artistic discourse in the 1950s, coming into prominence in the 1970s as a critically lauded and widely studied artistic mode. Enduring in popularity to the present day, Photorealism was initially thought of as counter to the important avant-garde artistic developments of the mid-century. As demonstrated by the artists who pushed the movement forward, the perception of Photorealism as reductive could not have been farther from the truth. Chuck Close, who took up the style in the 1960s, helped elucidate the connection between Photorealism and the prevailing movements of the day. The artist used myriad techniques and materials to recreate the same photographic portraits ad infinitum, demonstrating that the relationship between Pop art and advertising was analogous to that between Photorealism and photography—rife for subversion and boundary-pushing. Robert Bechtle connected the movement with the legacy of American Modernism, channeling Edward Hopper’s spare American vision, and building on the affectlessness of Minimalism. Richard McLean reached a new height in technical execution, rendering images with a fluid elegance that belied the medium. Finally, John Salt underscored the ability of Photorealism to facilitate visceral connection, rendering his memories of America from his studio in England as a means to access emotion and experience. Together these artists revolutionized the medium of painting, establishing the role of technical skill and polished execution as an integral component in the efficacy of paint.