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Duane Hanson Photo

Duane Hanson

American Sculptor

Born: January 17, 1925 - Minnesota, United States
Died: January 6, 1996 - Florida, United States
Movements and Styles:
Pop Art
American Realism
"In the turmoil of everyday life, we too seldom become aware of one another. In the quiet moments in which you observe my work, maybe you will recognise the universality of all people."
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Duane Hanson
"I don't reproduce life, I make a statement on human values. My work deals with people who lead lives of calm despair. I show emptiness, fatigue, aging, frustration. These people can't stand up to competitiveness. They are excluded, psychologically handicapped beings."
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Duane Hanson
"Realism is best suited to convey the frightening idiosyncrasies of our time"
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"What can generate more interest, fascination, beauty, ugliness, joy, shock or contempt than a human being?"
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"People, workers, the elderly, all these people I see with sympathy and affection. These are the people who have fought the battle of life and who now and then show the hard work and the frustration. The clothes they wear describe the life they lead. There is grubbiness and sweat, and there are old people with the lines in their faces and the wrinkles. It's all about human activity, it's truth, and we all get there."
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Duane Hanson
"It is of no concern to me if one is rich or poor, healthy or sick, at some time or another life will be pretty difficult for everyone. That is one of the reasons why my figures do not smile."
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"My images don't come close to real life. The world is remarkable, astounding and surprising enough that one does not need to exaggerate. What actually exists is simply insane."
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Duane Hanson

Summary of Duane Hanson

As one of the most successful American sculptors of the twentieth century, Hanson achieved acclaim during the 1970s through a hyperrealistic style that overlapped with the Photo Realist movement. He is associated specifically with a series of uncanny life-size models of working-class American citizens which he modelled in painted polyvinyl, fiberglass resin and bronze. Hanson's sculptures are celebrated for their meticulous attention to detail which included such features as real hair, fingernails, raised veins and various skin blemishes. Dressing his figures in workers uniforms, or clothes bought from thrift stores, he helped to further define the status of his subjects through the appropriation of various found props. Some critics scorned Hanson as a populist and satirist but to his many supporters he was a sincere humanist whose declared goal was to use his art to make "a statement about human values".


  • Hanson cast his sculptures from live models, many of them friends and family members, before assembling and dressing them in the desired dress or uniform. Rather than portraits, his figures represented types and it was (in addition to the skill required to render them in the first instance) their "ordinariness" that made them stand out within the gallery setting. It was often noted that, because his sculptures were so life-like, and because they were never elevated above eye-level on plinths, gallery patrons would often try to interact with them.
  • Gallery audiences, who might have felt more comfortable contemplating the sheen of the white marble flesh of Roman/Greco gods and goddesses, were taken aback by the sallow, unhealthy, plastic (yet very realistic-looking) flesh that characterized some of Hanson's most famous sculptures. Asked first to consider the lifestyles of people who might have otherwise remained invisible in their everyday surroundings, Hanson's sculpture also presented Americans with a vision of how they might be viewed as a nation by outsiders.
  • Hanson was not trying to trick his audience into thinking his figures were somehow real. His intention was rather to illicit a sense of connectivity between these everyday American "types" and the people who came to view them. Some critics, however, read his pieces as satire because there was a humorous quality to be had by (dis)placing his figures in surroundings (the gallery) that were unfamiliar to them. But humor notwithstanding, Hanson's intentions always remained true to his empathetic worldview.
  • With early works that featured groups of figures typically placed in a tableaux, Hanson produced a series of disturbing and violent (Abortion (1966) and Football Players (1969), for instance) sculptures that many critics likened to the work of Edward Kienholz. Unlike his later (and kinder) humanist pieces, these confrontational works carried explicit and implicit social commentaries and, because of this, they sit closer in the timeline of Realism to 19th-century French artists Honore Daumier and Jean-François Millet than the 19th century trompe l'oeil American painter John Frederick Peto (all three of whom Hanson cited as influences).

Biography of Duane Hanson

Duane Hanson Photo

Hanson was born to Swedish immigrants Dewey O. Hanson and Agnes Nelson Hanson. They owned and ran a dairy farm in Minnesota and would supply milk for the local town which was, according to Hanson, small and rather conservative. He recalled in an interview with director of the Smithsonian, Liza Kirwin, how he attended the local Lutheran church with other Swedish Minnesotans. However, compared to others in the community, the Hansons only held a "smattering" of religious faith which allowed Duane greater personal freedoms than others in his peer group. As an only child, too, Hanson spent long hours in his own company. He occupied his time working with his hands, often creating wood carvings. He produced his first notable wood sculpture, based on Thomas Gainsborough's, The Blue Boy (1770), aged just 13.

Important Art by Duane Hanson

Football Vignette (1969)

Muddied and in mid-action, this life-size pyramid of American footballers is frozen at the moment before it is about to topple into a heap. It's an image quite familiar to most football fields. The viewer might be able to speculate on how the action will play out if it was not for the fact that Hanson has omitted the football from the sculpture. It could be, in fact, that the three players are engaged in an off-ball tussle. Though it is a scenario that audiences will have witnessed many times before, Hanson's hyperrealistic treatment of his twisted figures is rather disconcerting having been removed from the context of the playing field.

Hanson cast these sculptures from live models before assembling and dressing them in their carefully selected uniforms. The surface texture of his sculptures was so meticulously rendered that they were even adorned with hairs, bruises and veins. Created in the backdrop of the Vietnam War, and in lieu of the fact that Hanson was operating in the era of Pop Art, it is possible (tempting, even) to read the piece as being analogous with the violence and confrontation that had become a part of day-to-day American life.

The Museum Moderner Kunst Stiftung Ludwig Wien in Vienna has given this work pride of place in its collection and claims that there is an underlying violence that disguises itself in sports uniforms in order to act out naked aggression. Indeed, throughout the 1960s Hanson had been making work of a more visceral kind with sculptures depicting content such as the mafia, a murder victim and a bicycle accident. There is a perfect tension between pretense and reality in this and other works inasmuch as Hanson has undergone several complicated processes in order to emulate a convincing trio of figures. The overall effect is a scene that appears to barely have been choreographed at all. Produced in 1969, Football Vignette marked something of a turning point in Hanson's career. It was one of the last of these more sensationalist pieces before he shifted focus onto more mundane aspects of contemporary American life.

Woman Eating (1971)

This woman is looking a little disheveled. Her legs have bruise marks, her face is pimpled, her clothes are worn, her hair unkempt, and the table at which she sits is cluttered. One is left to wonder how to read this woman. She has bags at her feet, one of which is filled with groceries such as branded pasta and corn flakes. This is a strong allusion to Pop Art which very often represented everyday brands and packaging in an ironic way (as fine art). But the work seems more earnest - more compassionate - in the way it presents its audience with a narrative enigma: what has happened to our protagonist and/or what fate is about to befall her? A story pieces itself together in the minds of the audience who become engrossed in the life of an overweight working-class woman who would likely remain anonymous in the average fast-food diner.

This sculpture used a live model which Hanson then cast using fiberglass and resin before bringing her to life through layers of oil paint. He then dresses his model in actual clothes and accessories, which he usually acquired from thrift stores. Where one might have expected Hanson to use synthetic hair, moreover, he actually applied the human hairs piece by piece to the plastic skin on her head.

Although gallery audiences might be more accustomed to the shimmering white marble flesh of Roman/Greco sculptures, the skin on Hanson's model is pallid and unhealthy, and is perhaps an afront to the standards of beauty passed down from the ages of antiquity. Hanson stated, "the subject matter that I like best deals with the familiar lower-and-middle-class American types of today. To me, the resignation, emptiness, and loneliness of their existence captures the true reality of life for these people ... I want to achieve a certain tough realism which speaks of the fascinating idiosyncrasies of our times". Seen this way, the sculpture also provides the American viewer with a kind of mirror image and they could, if so inclined, be given to wonder how they might be perceived by outsiders, not as individuals, but as a nation.

Museum Guard (1975)

Hanson's life-size figures reached new heights of realism with his Museum Guard. Expected to be quiet and unmoving (as he is) it's easy to imagine that this sculpture could go completely unnoticed. As with his other sculptures, the guard is uncannily lifelike: the head was modelled on his wife Wesla's uncle and the mottled skin featured individual hairs and even age spots on the hands. Unlike most of his other figures, however, Museum Guard is one of the few Hanson works that truly blends into the museum context, bringing his meticulously created illusion to its zenith. The guard is a kind of silent voyeur, unflinching and watchful, confined to his role as a museum guard for all eternity. He is aged, perhaps he has been in his job since his youth. He is even adorned with the badge of the museum - The Nelson Atkins Museum of Art in Kansas - that was worn by the living museum guards employed there.

The model's grey hair, impassive facial impression, and sagging posture go against the history of figurative sculpture. Unlike marble roman nudes, or even a bronze commemoration of a political victory, Hanson's museum guard is utterly ordinary. And it is his "ordinariness" that endears him to us (should we be so observant as to be able to spot him, of course); our guard is both the viewer and the viewed. On the subject of this sculpture, Hanson spoke of his intention to break down barriers between the visitor and the museum and his guard elicited different reactions from different visitors. Very often the public would walk up to the museum guard and attempt to interact with him, embarrassed or amused as soon as they realize the mistake. Writer Danielle James wrote, Hanson's figures are "captured pensive and dissatisfied, dreaming about a different reality while in uniform for their less than desired day job. All of Hanson's figures seem to be searching for or dreaming of satisfaction".

Influences and Connections

Influences on Artist
Duane Hanson
Influenced by Artist
Friends & Personal Connections
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Friends & Personal Connections
Movements & Ideas
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Close Influences

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Content compiled and written by Esme Blair

Edited and revised, with Summary and Accomplishments added by Tony Todd

"Duane Hanson Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Esme Blair
Edited and revised, with Summary and Accomplishments added by Tony Todd
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First published on 14 Jun 2021. Updated and modified regularly
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