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Aquarelle originale - Que l'aquarelle devient difficile dès qu'il s'agit de traiter des scènes nocturnes... Format : 38 cm x 29 cm. Prix sur demande. Size : 15 in x 11 in. Price on request.
Oil on canvas, 24" x 24" #painting #oils on #canvas #art #artist #artgallery #artcollector #realism #highrealism #hyperrealism #contemporaryart #visualart #realistpainting #instadaily #instagood #socialmedia #bestofinstagram #artprofessional #vsco #vscocam #artcommission #stillife #stilllifepainting #pickerelweed
Oil and alkyd on panel; 100 x 73 cm.
Bernardo Torrens was born in Madrid in 1957. In spite of the fact that he is virtually self-taught, he is a master painter, and can be securely positioned in the tradition of Spanish realism from the seventeenth century to the present. He is also a master of his medium, the airbrush, achieving nuances of color and surface texture that are remarkable, even for this much-touted tool of the twentieth-century “superrealists.”
In Torrens”s work one recognizes both the heightened reality and gravitas that are hallmarks of Spanish realism. The canon was set in the seventeenth century by artists such as Zurbarán, Ribera, Sánchez Cotán, and Velázquez. In general, the seventeenth century represented a moment of expansion of artistic vision in Europe, under the aegis of the baroque and with the introduction of new categories of representation. The painter”s canvas was made to carry more information ” panoramic landscapes, overflowing banquet tables, complex interior settings described with all the appropriate trappings, hosts of angels, saints, and heroes depicted in epic narratives. But the Spanish realists, though all-embracing in terms of subject matter from which to draw, tended to concentrate attention on a few objects, or even a single object. However, these excerpted objects, handled with great sobriety and rendered with exquisite detail, hold great power. Visual titillation draws the viewer to the work, but the cerebral and meditative sensibilities soon take over. It is precisely such qualities that underpin Torrens”s work.
via Virginia Anne Bonito, revised “Get Real” Bernardo Torrens essay, April 24, 2000
artistaday.com/?p=7460
Blue -- Reincarnation Narcissus oil painting by Paul Jaisini, Gleitzeit Essay Circa 1994
Oil painting on linen Plywood support Signed Reincarnation series Early Period
The theme of Narcissus in Jaisini's "Blue..." may be paralleled with the problem of the two-sexes-in-one, unable to reproduce and, therefore, destined to the Narcissus-like end. Meanwhile, the Narcissus legend lasts. In the myth of Narcissus a youth gazes into the pool. As the story goes, Narcissus came to the spring or the pool and when his form was seen by him in the water, he drowned among the water nymphs because he desired to make love to his own image. Maybe the new Narcissus, as in "Blue Reincarnation," is destined to survive by simply changing his role from a passive man to an aggressive woman and so on. To this can be added that, eventually, a man creates a woman whom he loves out of himself or a woman creates a man and loves her own image but in the male form. The theme of narcissism recreates the 'lost object of desire. "Blue" also raises the problem of conflating ideal actual and the issue of the feminine manhood and masculine femininity. There is another story about Narcissus' fall, which said that he had a twin sister and they were exactly alike in appearance. Narcissus fell in love with his sister and, when the girl died, would go to the
spring finding some relief for his love in imagining that he saw not his own reflection but the likeness of his sister. "Blue" creates a remarkable and complex psychopathology of the lost, the desired, and the imagined. Instead of the self, Narcissus loves and becomes a heterogeneous sublimation of the self. Unlike the Roman paintings of Narcissus, which show him alone with his reflection by the pool, the key dynamic in Jaisini's "Blue" is the circulation of the legend that does not end and is reincarnated in transformation when
autoeroticism is not permanent and is not single by definition. In "Blue," we risk being lost in the double reflection of a mirror and never being able to define on which side of the mirror Narcissus is. The picture's color is not a true color of spring water. This kind of color is a perception of a deep-seated human belief in the concept of eternity, the rich saturated cobalt blue. The ultra hot, hyperreal red color of the figure of Narcissus is not supposed to be balanced in the milieu of the radical blue. Jaisini realizes the harmony in the most exotic color combination. While looking at "Blue," we can recall the spectacular color of night sky deranged by a vision of some fierce fireball. The disturbance of colors creates some powerful and awe-inspiring beauty. In the picture's background, we find the animals' silhouettes, which could be a memory reflection or dream fragments. In the story, Narcissus has been hunting - an activity that was itself a figure for sexual desire in antiquity. Captivated by his own beauty, the hunter sheds radiance that, one presumes, reflects to haunt and foster his desire. The flaming color of the picture's Narcissus alludes to the erotic implications of the story and its unresolved problem of the one who desires himself and is trapped in the erotic delirium. The concept can be applied to an ontological difference between the artists's imitations and their objects.
In effect, Jaisini's Narcissus could epitomize artistic aspiration to control levels of reality and imagination, to align the competition of art and life, of image with imaginable prototype. Jaisini's "Blue" is a unique work that adjoins reflection to reality without any instrumentality. "Blue" is a single composition that depicts the reality and its immediate reflection. Jaisini builds the dynamics of desire between Narcissus and his reflection-of-the-opposite by giving him the signs of both sexes, but not for the purpose of creating a hermaphrodite. The case of multiple deceptions in "Blue" seems to be vital to the cycle of desire. Somehow it reminds one of the fates of the artists and their desperate attempts to evoke and invent the nonexistent. "Blue" is a completely alien picture to Jaisini's "Reincarnation" series. The pictures of this series are painted on a plain ground of canvas that produces the effect of free space filled with air. "Blue," to the contrary, is reminiscent of an underwater lack of air; the symbolism of this picture's texture and color contributes to the mirage of reincarnation.
I've become dissatisfied with the look produced by HDR and similar filters, and so I'm experimenting with more subtle hyperreal effects achieved by many iterated blend-mode merges alone. This is my favourite so far.
"Les pigeons de la place Furstenberg"
Aquarelle originale - Paris. J'aime peindre cette lumière qui filtre légèrement derrière les arbres à l'ombre de cette place Furstenberg. Le calme de cet endroit hors du temps me bouleverse à chaque visite... Format : 39 cm x 28 cm. Prix sur demande. Size : 15,3 in x 11,4 in. Price on request.
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Prompts: the friendly green giant reading a bedtime story to a room of children, highly detailed, detailed facial features, vivid colors, hyperrealism, realistic features.
Made with #midjourney
Julien BERTHIER
Né en 1975 à Besançon. Vit et travaille à Paris
Diplômé de l’École des Beaux-Arts de Paris, Julien Berthier débute sa carrière de plasticien au début des années 2000.
« Ne pas laisser le monde aux mains des spécialistes. » Julien Berthier reste fidèle à cette déclaration : tout en employant des médiums aussi variés que la sculpture, le dessin, la vidéo ou la photographie, l’artiste crée des objets - à la fois hyperréalistes et néanmoins fictionnels - qu’il confronte à l’espace public.
L’œuvre pour Paris La Défense
Les pigeons, nuisibles citadins, font partie de ce que nous feignons de ne pas remarquer dans le paysage urbain, par flemme ou par désintérêt sans doute. S’ils sont nombreux en ville, leurs occurrences dans la sculpture des places publiques sont bien inférieures à leur démographie sur les sites concernés.
Avec « Pigeonner », l’artiste remet ces volatiles à l’honneur.
L’animal est traité en bronze, matériau noble par excellence de la sculpture animalière du XIXe siècle. Ces sculptures hyperréalistes de pigeon viennent alors se greffer sur d’autres sculptures publiques existantes de même patine, leur offrant un surplus temporaire de réalisme.
Ces sculptures volontairement discrètes et parasites sont dans le champ de réflexion sur la statuaire ce que le « plus-produit » est au domaine du marketing (analogie qui ne saurait faire l’impasse sur l’acception familière du verbe « pigeonner »).
« Une partie importante de mon travail se place dans un angle mort, là où personne ne regarde vraiment. (…) Il doit prendre les traits du réel pour s’y insérer, mais avec un léger décalage pour que les œuvres soient à la fois intégrées (c’est à dire identifiables et capables d’être entendues) et dissonantes (c’est à dire étrangement différentes et dont le propos vient mettre en débat l’opinion dominante). »
PIGEONNER, 2014-2020
Bronze, pigeon échelle 1:1
Pièce unique
Courtesy Galerie Georges-Philippe et Nathalie Vallois, Paris
Latest personal series, shot a while back. Exploring a vehicle in segments and finding interesting shapes. Finding a balance between hyperreal and classy.
Paintings so lifelike they resemble photographs: the magic of photorealism. In Focus, an exhibition in Centraal Museum Utrecht NL.
Robert Cottingham, Vision, 1973.
More photorealism at pien's fotoblog: pienw.blogspot.com/2024/04/op-scherp-fotorealisme-nader-b...