View allAll Photos Tagged HyperRealistic
I resculpted the nose and mouth of this Alita head sculpt to likeness of supermodel Karen Elson. The skin tone in Milk with hyperrealistic blushing and an experimental resin coating for skin like texture and to protect the blushing.
I made two red wigs that are iconically Karen for her: a frizzy and wild afro style with central parting (wool mohair mix) and classic femme fatale curls from smooth alpaca.
The miniatures are a mix of things, mostly re-ment.
Tore installation by Marcel Berlanger, opening view, 4 may 2007.
Wiels (Contemporary Art Center), Brussels, Belgium.
See also an article (in french) on my blog : www.multimedialab.be/blog/?p=671
Marcel Berlanger : Tore
Whoever goes to see Marcel Berlanger's latest project will be entering a strange world of optical illusions. This Brussels-based artist is presenting an installation in which painting, light and sound resonate simultaneously within a single space: a large platform in the brand new centre for contemporary art, WIELS. Berlanger usually paints on supports he himself has designed, consisting of liquid resin and translucent fibreglass, and covered with a coat of reflective paint. Because of the fibrous structure of the supports and the hyperrealistic rendition of both geometric and human figures, his work has occasionally been described as photographic painting. In TORE, Julie Petit-Etienne's lighting design further intensifies the sweet taste of the optical illusion: a succession of short cycles of light plunges the exhibition space and the work into varying shades of colour, thereby suggesting movement. These ongoing transformations will stimulate, tickle and unsettle the viewer's perception.
Qui fait l’expérience du nouveau projet de Marcel Berlanger, pénètre dans le monde merveilleux de l’illusion optique. Le plasticien bruxellois propose une installation où la peinture, la lumière et le son résonnent dans un même espace, une immense plate-forme dans le centre d’art contemporain flambant neuf de WIELS. Berlanger confectionne lui-même ses supports. Ils sont composés de fibre de verre transparente rigidifiée à la résine liquide, qu’il recouvre de peinture reflétant la lumière. La structure fibreuse du support et la reproduction hyperréaliste font que l’on qualifie parfois ses œuvres de peintures photographiques. Dans TORE, le concept lumière de Julie Petit-Etienne intensifie les subtilités de l’illusion optique. Des cycles lumineux alternants immergent l’espace et l’œuvre dans diverses tonalités et suggèrent diverses dynamiques. Chaque métamorphose aiguillonne, titille et stimule la perception du visiteur.
Concept : Marcel Berlanger
Lighting design : Julie Petit-Etienne
Music : Cédric Dambrain
Presentation : Wiels, Kunstenfestivaldesarts
Coproduction : Wiels, Kunstenfestivaldesarts
© Marcel Berlanger
Salvador Dali - Guillaume Tell, detail son [1930]
Paris, Centre Pompidou
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The horrified son hides his face with his left hand. He raises his right hand accusingly against his cruel father. His sex is protectively covered by a leaf. The branch with the leaf leads directly to a bird's nest with several eggs. (A reference to fertility, to a family with offspring).
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Psychoanalytical kaleidoscope
The Catalan surrealist Salvador Dalí (* 11.5.1904, †23.1.1989) had already immersed himself in Sigmund Freud's writings during his studies and developed his own method of translating images of the unconscious into hyperrealistic painting. He interpreted the freedom hero William Tell as an authoritarian perpetrator figure who threatens his son. In this dream image, Dalí equates him with his father, whom he must defeat in his Oedipal fantasy in order to attain freedom. He depicts the father as a raging man with his sex exposed, pursuing the son with a pair of scissors. The latter turns away in his fear of castration. The relief of a woman, on whom the father is leaning his knee in a possessive posture, shows the married Gala Éluard, with whom Dalí lived together, much to his father's indignation: this is an attempt to expel her from paradise. At the top left, the father is playing on a grand piano on which lies a donkey carcass - a symbol from the film "An Andalusian Dog", which Dalí made with Louis Buñuel in 1929. The white stallion can be imagined as the unconscious force with which the escape from the father's power is achieved.
Prompt:
a portrait of a family of three, elderly parents and adult child, wearing formal attire, serious expressions, exaggerated features, woman with large bouffant hairstyle | somber, unsettling mood::1.2 | surrealism::1.3, hyperrealistic, reminiscent of American Gothic | cinematic lighting, detailed textures, 8k resolution, intricate details | --ar 2:3 --v 6.0 --q 2 --s 75 --c 30
Impala
Akeley Hall of African Mammals
Since its opening in 1936, the Akeley Hall has been considered by many to be one of the world's greatest museum displays. The hall is named after Carl Akeley (1864–1926), the explorer, conservationist, taxidermist, sculptor and photographer who conceived of, designed and created the hall. Akeley led teams of scientists and artists on three expeditions to Africa during the first two decades of the 20th century, wherein he and his colleagues carefully studied, catalogued, and collected the plants and animals that even then were disappearing. He brought many specimens from the expeditions back to the Museum, and used them to create the hall, with its twenty-eight dioramas.
The dioramas do not simply evoke the sites that Akeley visited—they replicate specific animals in specific geographic locations at a specific time. In creating these works, Akeley forever changed the practice of taxidermy—the stuffing and mounting of the skins of animals. Until then animal skins had been stuffed with straw or wood shavings. Akeley, however, began by re-creating the animal's shape with an armature made of wood, wire, and sometimes parts of the actual skeleton. He then used clay to add on each muscle, tendon, and vein. When this work was complete, he made a cast of it, and fit the animal's skin over the cast. This meticulous attention to veracity—which was applied not merely to the taxidermic mounts but the plants, background paintings and even the light in the dioramas—resulted in fastidiously realistic, vivid reproductions of the world that Akeley wanted to preserve.
The enormous hall showcases the vanishing wildlife of Africa, in spaces where the human presence is notably absent, and includes hyperrealistic depictions of elephants, hippopotamuses, lions, gorillas, zebras, and various species of antelope. Some of the displays are up to 18 feet (5 m) in height and 23 feet (7 m) in depth.
During Akeley's final expedition, he fell ill and died. He was buried in Albert National Park (now Virunga National Park), the first wildlife sanctuary in central Africa, which he had helped to establish. The mountain location of his grave is near the scene depicted in the gorilla diorama in this hall.
From Wikipedia
Lesser Koodoo
Akeley Hall of African Mammals
Since its opening in 1936, the Akeley Hall has been considered by many to be one of the world's greatest museum displays. The hall is named after Carl Akeley (1864–1926), the explorer, conservationist, taxidermist, sculptor and photographer who conceived of, designed and created the hall. Akeley led teams of scientists and artists on three expeditions to Africa during the first two decades of the 20th century, wherein he and his colleagues carefully studied, catalogued, and collected the plants and animals that even then were disappearing. He brought many specimens from the expeditions back to the Museum, and used them to create the hall, with its twenty-eight dioramas.
The dioramas do not simply evoke the sites that Akeley visited—they replicate specific animals in specific geographic locations at a specific time. In creating these works, Akeley forever changed the practice of taxidermy—the stuffing and mounting of the skins of animals. Until then animal skins had been stuffed with straw or wood shavings. Akeley, however, began by re-creating the animal's shape with an armature made of wood, wire, and sometimes parts of the actual skeleton. He then used clay to add on each muscle, tendon, and vein. When this work was complete, he made a cast of it, and fit the animal's skin over the cast. This meticulous attention to veracity—which was applied not merely to the taxidermic mounts but the plants, background paintings and even the light in the dioramas—resulted in fastidiously realistic, vivid reproductions of the world that Akeley wanted to preserve.
The enormous hall showcases the vanishing wildlife of Africa, in spaces where the human presence is notably absent, and includes hyperrealistic depictions of elephants, hippopotamuses, lions, gorillas, zebras, and various species of antelope. Some of the displays are up to 18 feet (5 m) in height and 23 feet (7 m) in depth.
During Akeley's final expedition, he fell ill and died. He was buried in Albert National Park (now Virunga National Park), the first wildlife sanctuary in central Africa, which he had helped to establish. The mountain location of his grave is near the scene depicted in the gorilla diorama in this hall.
From Wikipedia
South Africa
Akeley Hall of African Mammals
Since its opening in 1936, the Akeley Hall has been considered by many to be one of the world's greatest museum displays. The hall is named after Carl Akeley (1864–1926), the explorer, conservationist, taxidermist, sculptor and photographer who conceived of, designed and created the hall. Akeley led teams of scientists and artists on three expeditions to Africa during the first two decades of the 20th century, wherein he and his colleagues carefully studied, catalogued, and collected the plants and animals that even then were disappearing. He brought many specimens from the expeditions back to the Museum, and used them to create the hall, with its twenty-eight dioramas.
The dioramas do not simply evoke the sites that Akeley visited—they replicate specific animals in specific geographic locations at a specific time. In creating these works, Akeley forever changed the practice of taxidermy—the stuffing and mounting of the skins of animals. Until then animal skins had been stuffed with straw or wood shavings. Akeley, however, began by re-creating the animal's shape with an armature made of wood, wire, and sometimes parts of the actual skeleton. He then used clay to add on each muscle, tendon, and vein. When this work was complete, he made a cast of it, and fit the animal's skin over the cast. This meticulous attention to veracity—which was applied not merely to the taxidermic mounts but the plants, background paintings and even the light in the dioramas—resulted in fastidiously realistic, vivid reproductions of the world that Akeley wanted to preserve.
The enormous hall showcases the vanishing wildlife of Africa, in spaces where the human presence is notably absent, and includes hyperrealistic depictions of elephants, hippopotamuses, lions, gorillas, zebras, and various species of antelope. Some of the displays are up to 18 feet (5 m) in height and 23 feet (7 m) in depth.
During Akeley's final expedition, he fell ill and died. He was buried in Albert National Park (now Virunga National Park), the first wildlife sanctuary in central Africa, which he had helped to establish. The mountain location of his grave is near the scene depicted in the gorilla diorama in this hall.
From Wikipedia
Prompt:
A Woman with black cat face paint, sharp fangs, and glowing blue eyes, windswept black hair, dark teal background with falling walter | mysterious, alluring::1.2 | dark fantasy art, digital painting::1.3 | cinematic lighting, ultra-detailed, 8k resolution, hyperrealistic | --ar 2:3 --v 6.0 --q 2 --s 75 --c 30
Dock Leaf - watercolour painting (work in progress).
Paper is Saunders Waterford hp - Size: 14 x 21 ins.
This image shows the painting in its early stages.
The layers of watercolour paint are added slowly in several transparent layers.
Search for Steve Greaves on Ebay and Amazon to find Original Artwork, Limited Edition Prints and Postcards for sale.
See more at: www.stevegreaves.com
See the reference photo here on Flickr:
www.flickr.com/photos/stevegreaves/2602952039/in/set-7215...
Available for sale - This is a detail of an illustration I did in 1989 for an album concept for the cure. I used mixed media Acrylic paint and colored pencil employing the airbrush, brush, alcohol and salt. The lead singer Robert Smith of the Cure was the subject of the portrait. I was experimenting with lots of techniques to get this hyper real, tight and loose portrayal. I layered brushwork, pencil and airbrush back and forth to create depth and transparency all over the place. It was fun! Again the eyes were important to me and what they expressed. I hope you enjoy this slice of the early 90’s post punk scene.
Tore installation by Marcel Berlanger, opening view, 4 may 2007.
Wiels (Contemporary Art Center), Brussels, Belgium.
See also an article (in french) on my blog : www.multimedialab.be/blog/?p=671
Marcel Berlanger : Tore
Whoever goes to see Marcel Berlanger's latest project will be entering a strange world of optical illusions. This Brussels-based artist is presenting an installation in which painting, light and sound resonate simultaneously within a single space: a large platform in the brand new centre for contemporary art, WIELS. Berlanger usually paints on supports he himself has designed, consisting of liquid resin and translucent fibreglass, and covered with a coat of reflective paint. Because of the fibrous structure of the supports and the hyperrealistic rendition of both geometric and human figures, his work has occasionally been described as photographic painting. In TORE, Julie Petit-Etienne's lighting design further intensifies the sweet taste of the optical illusion: a succession of short cycles of light plunges the exhibition space and the work into varying shades of colour, thereby suggesting movement. These ongoing transformations will stimulate, tickle and unsettle the viewer's perception.
Qui fait l’expérience du nouveau projet de Marcel Berlanger, pénètre dans le monde merveilleux de l’illusion optique. Le plasticien bruxellois propose une installation où la peinture, la lumière et le son résonnent dans un même espace, une immense plate-forme dans le centre d’art contemporain flambant neuf de WIELS. Berlanger confectionne lui-même ses supports. Ils sont composés de fibre de verre transparente rigidifiée à la résine liquide, qu’il recouvre de peinture reflétant la lumière. La structure fibreuse du support et la reproduction hyperréaliste font que l’on qualifie parfois ses œuvres de peintures photographiques. Dans TORE, le concept lumière de Julie Petit-Etienne intensifie les subtilités de l’illusion optique. Des cycles lumineux alternants immergent l’espace et l’œuvre dans diverses tonalités et suggèrent diverses dynamiques. Chaque métamorphose aiguillonne, titille et stimule la perception du visiteur.
Concept : Marcel Berlanger
Lighting design : Julie Petit-Etienne
Music : Cédric Dambrain
Presentation : Wiels, Kunstenfestivaldesarts
Coproduction : Wiels, Kunstenfestivaldesarts
© Marcel Berlanger
Eröffnung | Opening
09.04.2015
Kunsthaus Graz, Space01, Lendkai 1, 8020 Graz
Laufzeit | Duration: 10.04.-30.08.2015
www.museumsblog.at/HyperAmerika
© Universalmuseum Joanneum / N. Lackner
Ausstellungsansicht | Exhibition View
Kunsthaus Graz, Space01, Lendkai 1, 8020 Graz
Laufzeit | Duration: 10.04.-30.08.2015
www.museumsblog.at/Hyperamerika
© Universalmuseum Joanneum / N. Lackner
Close-up portrait of a young blonde woman with freckles, wearing round glasses, natural makeup, and intense blue eyes, soft lighting, realistic digital art style
Tore installation by Marcel Berlanger, opening view, 4 may 2007.
Wiels (Contemporary Art Center), Brussels, Belgium.
See also an article (in french) on my blog : www.multimedialab.be/blog/?p=671
Marcel Berlanger : Tore
Whoever goes to see Marcel Berlanger's latest project will be entering a strange world of optical illusions. This Brussels-based artist is presenting an installation in which painting, light and sound resonate simultaneously within a single space: a large platform in the brand new centre for contemporary art, WIELS. Berlanger usually paints on supports he himself has designed, consisting of liquid resin and translucent fibreglass, and covered with a coat of reflective paint. Because of the fibrous structure of the supports and the hyperrealistic rendition of both geometric and human figures, his work has occasionally been described as photographic painting. In TORE, Julie Petit-Etienne's lighting design further intensifies the sweet taste of the optical illusion: a succession of short cycles of light plunges the exhibition space and the work into varying shades of colour, thereby suggesting movement. These ongoing transformations will stimulate, tickle and unsettle the viewer's perception.
Qui fait l’expérience du nouveau projet de Marcel Berlanger, pénètre dans le monde merveilleux de l’illusion optique. Le plasticien bruxellois propose une installation où la peinture, la lumière et le son résonnent dans un même espace, une immense plate-forme dans le centre d’art contemporain flambant neuf de WIELS. Berlanger confectionne lui-même ses supports. Ils sont composés de fibre de verre transparente rigidifiée à la résine liquide, qu’il recouvre de peinture reflétant la lumière. La structure fibreuse du support et la reproduction hyperréaliste font que l’on qualifie parfois ses œuvres de peintures photographiques. Dans TORE, le concept lumière de Julie Petit-Etienne intensifie les subtilités de l’illusion optique. Des cycles lumineux alternants immergent l’espace et l’œuvre dans diverses tonalités et suggèrent diverses dynamiques. Chaque métamorphose aiguillonne, titille et stimule la perception du visiteur.
Concept : Marcel Berlanger
Lighting design : Julie Petit-Etienne
Music : Cédric Dambrain
Presentation : Wiels, Kunstenfestivaldesarts
Coproduction : Wiels, Kunstenfestivaldesarts
© Marcel Berlanger
Yesterday we visited an exhibition of hyper-realistic sculptures in the Kunsthal in Rotterdam. I knew a few of these sculptures from magazines, but the real thing surpassed my expectations. Some of these creations looked so extremely "real" that you were inclined to stroke their skin.
This sculpture by Ron Mueck is called " A girl" and is about three meters long. Its size makes it very unrealistic, but you tend to forget that when you watch it.
Generated by MidJourney for Aaron Ximm, v3 engine, late July 2022; prompt: "intricate fractal otherworldy geometric tessalated landscape, hyperrealistic, alien, subdued aquatic blue-green palette, gloomy, underlighting, recessed lighting, volumetric light, gilded edges, vast panorama --ar 2:3 "
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1Trv5VX
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One more bird 🐥🐤 #art #illustration #pencil #pencildrawing #artwork #blackandwhite #drawing #worldofpencils #pencilart #Sketch_daily #draw #sketch #artoftheday #artist #arts_gallery #artcollctive #artistic_unity_ #flavoredtape #art_blend #art_spotlight #artworkzz #artposts #arts_help #art_hyperrealistic #art_conquest #illustratenow #bird #birddrawing
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Ausstellungsansicht | Exhibition View
Kunsthaus Graz, Space01, Lendkai 1, 8020 Graz
Laufzeit | Duration: 10.04.-30.08.2015
www.museumsblog.at/Hyperamerika
© Universalmuseum Joanneum / N. Lackner