253:(1959); both featuring a closely zoomed image of the inside of a car viewed from the outside. Despite the very high degree of similarity between the compositions, Salt's painting was still clearly an artistic interpretation of the photograph, however. Salt realised that if he was to eliminate all traces of expressionism in his work he had to record the image as faithfully as possible, and his next series of paintings – the first of his mature style – featured a series of paintings of car upholstery reproduced directly from a
337:. His work in England has largely continued to feature American scenes, however. Salt explained: "I think in a way it has that removed quality I quite like, and also the light is much sharper, you get incredibly clear light, much harder, it's much softer in Britain, it doesn't quite have that edge – edge in every way, in light and subject matter." On another occasion he commented "I've tried desperately to paint British subject matter. It's all so tidy."
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223:– the two pre-eminent artistic movements of the time. Unhappy at the prospect of merely selecting which of a pre-existing set of styles he was to adopt, however, Salt sought a more distinct artistic identity and was encouraged to explore a wide variety of styles and techniques by
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I don't like taking photographs because it puts you in situations where it can be confrontational or it can be awkward. My ideal would be a
Sleeping Beauty situation where for one day everybody goes to sleep and I could just wander around taking photographs. That would be
153:. His father was a motor repair garage owner, whose stepfather in turn had been a signwriter painting stripes on the bodies of cars. As a young boy Salt was encouraged to draw and paint, and at the age of fifteen he gained admittance to the
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242:, in the Baltimore college library. Impressed at how the photographers' documentary style relieved them of the self-conscious need to adopt an artistic technique, Salt photocopied the book with an eye to painting some of its images.
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Salt had originally planned to return to
England at the end of his Baltimore course in 1969, but when two of his Buick works were bought by an influential New York City art dealer he took Hartigan's advice and moved there instead.
132:, often shown wrecked or abandoned within a suburban or semi-rural American landscape, with the banality and dishevelment of the subject matter contrasting with the immaculate and meticulous nature of the work's execution.
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Salt's pictures generally feature wrecked cars and decrepit mobile homes in semi-rural locations in the United States. They are produced from photographs by projecting transparencies onto canvas and using an
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New York City also saw Salt develop a relationship with the art dealer Ivan Karp, who was on the point of opening his own gallery and was to develop a portfolio of artists associated with the emerging
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The result is that Salt's pictures have an extreme level of detail and precision that lends them a heightened sense of reality and eliminates as far as possible the self-expression of the artist.
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portrayals of car interiors as he started to base his paintings on his own photographs. Initially these featured exterior shots of more worn vehicles, but after his discovery of a scrapyard under
184:, where he had his first one-man show in 1965. In 1966 he married and decided to move to the United States, applying to numerous American art colleges for work before eventually being accepted by
263:, reviewing Salt's work as an external assessor for the college, skipped over Salt's expressionist work before remarking about the Buick works "Oh this is better. This may not even be art."
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121:(2 August 1937 – 13 December 2021) was an English artist, whose greatly detailed paintings from the late 1960s onwards made him one of the pioneers of the
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in its impersonal and unforgivingly objective portrayals of impoverished lifestyles, something he has gone some way to acknowledge:
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John Salt's legacy lives on in a pub named in his honour, John Salt, in the
Islington/Angel borough of
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Salt continued to live and paint in
Shropshire until his death on 13 December 2021, at the age of 84.
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Although Salt's work developed through several distinct phases, it generally focussed on images of
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movement. Salt had his first one-man exhibition in New York in 1969 and in 1972 featured in the
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249:(1967) was a pivotal work in this respect, being very closely based on Winogrand's photograph
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Salt's technique and style developed throughout the early seventies. Under the influence of
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to reproduce the colour – a painstaking process that can take up to two years to complete.
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to obtain the detail and precision he sought. His subject matter also broadened to include
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and context of his subject matter, to the extent that in some later works such as
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in London, where he was particularly influenced by the work of the
English artist
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the subject is "not so much sinking into the landscape as being hidden by it".
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Cornall, John (28 March 2001). "Impressive art taken with a pinch of Salt".
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and in 1964 was the first artist to exhibit at
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Salt's work in New York moved away from the earlier smooth
735:"An Optical Illusion at the Southampton City Art Gallery"
534:"An Optical Illusion at the Southampton City Art Gallery"
514:. Birmingham Museums & Art Gallery Information Centre
25:. For the English barrister, banker and land owner, see
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662:. London: Philip Wilson Publishers. pp. 61–76.
585:. London: Philip Wilson Publishers. pp. 45–59.
490:. London: Philip Wilson Publishers. pp. 15–29.
581:Chase, Linda (2007). "Elegy in an Auto-graveyard".
558:. Louis K. Meisel Gallery, New York. Archived from
215:Salt's work at this time showed influences of both
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230:It was at this time that Salt discovered the book
687:. London: Philip Wilson Publishers. p. 82.
333:Salt returned to England in 1978 and settled in
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683:Chase, Linda (2007). "1990s and beyond".
196:programme with associated teaching work.
761:John Salt: The Complete Works 1969–2006
685:John Salt: The Complete Works 1969–2006
660:John Salt: The Complete Works 1969–2006
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488:John Salt: The Complete Works 1969–2006
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200:Baltimore and the move to photo-realism
818:Alumni of the Birmingham School of Art
808:Alumni of the Slade School of Fine Art
803:Artists from Birmingham, West Midlands
234:, featuring the work of photographers
658:Chase, Linda (2007). "Momento Mori".
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374:(1975), Airbrushed acrylic on canvas.
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763:. London: Philip Wilson Publishers.
486:Chase, Linda (2007). "Early Years".
145:Salt was born and brought up in the
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708:Chapman, Simon (5 January 2022).
186:Maryland Institute College of Art
93:Maryland Institute College of Art
612:. National Galleries of Scotland
610:"John Salt (English, born 1937)"
393:Salt's work has been accused of
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309:instead of a spray gun, with
21:For the Anglican bishop, see
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634:. Plus One Gallery, London
437:Coventry Evening Telegraph
178:Stourbridge College of Art
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16:British artist (1937–2021)
512:"Biography for John Salt"
372:White Chevy – Red Trailer
141:Early years and education
305:he increasingly used an
155:Birmingham School of Art
87:Birmingham School of Art
556:"John Salt – Biography"
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217:abstract expressionism
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211:(1969), oil on canvas.
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344:to using water-based
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813:Photorealist artists
710:"John Salt obituary"
335:Bucknell, Shropshire
325:-like composition.
194:Master of Fine Arts
171:Robert Rauschenberg
159:Slade School of Art
90:Slade School of Art
27:John Stevenson Salt
562:on 4 November 2006
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23:John Salt (bishop)
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694:978-0-85667-634-5
669:978-0-85667-634-5
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497:978-0-85667-634-5
433:"Picture Perfect"
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329:Return to England
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431:Perks, Jon.
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69:(2021-12-13)
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793:2021 deaths
788:1937 births
632:"John Salt"
540:27 November
536:. Culture24
292:documenta 5
277:consumerist
257:catalogue.
782:Categories
741:21 October
638:20 October
616:21 October
566:20 October
518:21 October
414:References
209:Sportwagon
151:Birmingham
75:Shrewsbury
56:Birmingham
48:1937-08-02
719:5 January
447:7 October
395:voyeurism
350:landscape
261:Alex Katz
190:Baltimore
136:Biography
125:school.
119:John Salt
83:Education
77:, England
58:, England
36:John Salt
385:stencils
381:airbrush
323:snapshot
311:stencils
307:airbrush
247:Untitled
107:Movement
102:Painting
221:Pop Art
167:Pop Art
147:Sheldon
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408:London
402:ideal.
346:casein
296:Kassel
255:Buick
765:ISBN
743:2007
721:2022
689:ISBN
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640:2007
618:2007
587:ISBN
568:2007
542:2009
520:2005
492:ISBN
449:2007
383:and
363:Work
317:and
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130:cars
64:Died
42:Born
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