View allAll Photos Tagged hyperrealism
Un petit traitement hyperréaliste ça fait cool des fois je trouve =)
Canada, Québec, Parc du bois de Coulonge
Born in Sierra Leone, but having lived most of her life in Melbourne, artist Patricia Piccinini is holding her largest solo exhibition in Brisbane's QAGOMA. No stranger to successful showings; she represented Australia at the 2003 Venice Biennale and drew 1.4 million viewers to a Brazilian exhibition.
Piccinini draws on the natural world, science, medicine and technology for her transgenic, hyper-realistic creations. Her Brisbane collection, entitled 'Curious Affection' focuses on family, motherhood and nurturing. Her subjects evoke a broad range of reactions and emotions - sometimes shocking and confronting , but just as often endearing.
Both figures are constructed from silicon, fibreglass, human hair and clothing. They stand among multiple hybrid or mutant plants in a display entitled 'The Meadow' 2015.
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1rh0GmG
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“Disperse” Oil on canvas 40"x60" #art #underwater #hyperrealism #painting #complete #paintanyway @treklexington #oilpainting #reishaperlmutter #instaart #creative
by @reishaperlmutter on Instagram.
Exhibition Tjalf Sparnaay at Museum de Fundatie Zwolle NL.
Since 1987, he has been working on his imposing oeuvre, constantly seeking new images that have never been painted before. What he calls Megarealism is part of the contemporary global art movement of Hyperrealism, and Sparnaay is now considered one of the most important painters working in that style.
Fried eggs, French fries, sandwiches and ketchup bottles, Barbie dolls, marbles and autumn leaves. Artist Tjalf Sparnaay visualizes these trivial subjects and inflates them to enormous formats, an assault on the senses. His paintings hit the retina like bolts of lightning in a clear blue sky. No other painter confronts us quite so clearly with ordinary objects that we hold dear.
Tjalf Sparnaay not only documents reality but also intensifies this by blowing up everyday objects to mega-proportions. This gives him the opportunity to explore every detail very closely and to dissect it layer by layer in order to arrive at the core of the theme. ‘My paintings,’ remarks Sparnaay, ‘are intended to enable the viewer to experience reality once again, to rediscover the essence of the object that has become so common. I wish to reduce it to the DNA of the universal structure in all its beauty. I call it ‘the beauty of the everyday’. The way in which Sparnaay approaches his work refers directly to the seventeenth century. He resembles Vermeer in his lucid use of colour and eye for detail and refinement, while the lighting in his paintings recalls the play of light and shadow in the work of Rembrandt. Sparnaay elaborates on the rich seventeenth-century Dutch tradition of the still life, but does so on an individual and modern manner. He is constantly seeking new images that have never been painted. And he finds them in his own environment: ‘By using trivial and everyday objects, I enable reality to flow from my brush once more. My intention is to give these objects a soul and a renewed presence.’
Sparnaay’s work is spread out over collections worldwide and is regularly exhibited in cities such as New York and London.
Art from the High Museum of Art.
Artist: Chuck Close
Self Portrait
Charles Thomas "Chuck" Close (born July 5, 1940, Monroe, Washington) is an American painter and photographer who achieved fame as a photorealist, through his massive-scale portraits. Though a catastrophic spinal artery collapse in 1988 left him severely paralyzed, he has continued to paint and produce work that remains sought after by museums and collectors.
Chuck Close's father died when he was eleven years old. Most of his early works are very large portraits based on photographs (Photorealism or Hyperrealism technique) of family and friends, often other artists. In 1962, he received his B.A. from the University of Washington in Seattle. He then attended graduate school at Yale University, where he received his MFA in 1964. After Yale, he lived in Europe for a while on a Fulbright grant. When he returned to the US, he worked as an art teacher at the University of Massachusetts.
Close had been known for his skillful brushwork as a graduate student at Yale University. As he explained in a 2009 interview with the Cleveland Ohio Plain Dealer, he made a choice in 1967 to make art hard for himself and force a personal artistic breakthrough by abandoning the paintbrush. "I threw away my tools", Close said. "I chose to do things I had no facility with. The choice not to do something is in a funny way more positive than the choice to do something. If you impose a limit to not do something you've done before, it will push you to where you've never gone before."
Close's first one-man show was in 1970. His work was first exhibited at the New York Museum of Modern Art in early 1973. In 1979 his work was included in the Whitney Biennial. "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism or hyper-realism and painters like Richard Estes, Denis Peterson, Audrey Flack, and Chuck Close often worked from photographic stills to create paintings that appeared to be photographs. The everyday nature of the subject matter of the paintings likewise worked to secure the painting as a realist object."
One photo of Philip Glass was included in his black and white series in 1969, redone with water colors in 1977, again redone with stamp pad and fingerprints in 1978, and also done as gray handmade paper in 1982.
Close suffers from Prosopagnosia, also known as face blindness, in which he is unable to recognize faces. By painting portraits, he is better able to recognize and remember faces. On the subject, Close has said, "I was not conscious of making a decision to paint portraits because I have difficulty recognizing faces. That occurred to me twenty years after the fact when I looked at why I was still painting portraits, why that still had urgency for me. I began to realize that it has sustained me for so long because I have difficulty in recognizing faces."
Lucas (1986–1987), oil & pencil on canvas. Metropolitan Museum of Art, New York, New York. Detail at right of eye. The pencil grid and thin undercoat of blue is visible beneath the splotchy "pixels." The painting's subject is fellow artist Lucas Samaras.
Although his later paintings differ in method from his earlier canvases, the preliminary process remains the same. To create his grid work copies of photos, Close puts a grid on the photo and on the canvas and copies cell by cell. Typically, each square within the grid is filled with roughly executed regions of color (usually consisting of painted rings on a contrasting background) which give the cell a perceived 'average' hue which makes sense from a distance. His first tools for this included an airbrush, rags, razor blade, and an eraser mounted on a power drill. His first picture with this method was Big Self Portrait, a black and white enlargement of his face to a 107.5 in by 83.5 in canvas, made in over four months in 1968, and acquired by the Walker Art Center in 1969. He made seven more black and white portraits during this period. He has been quoted as saying that he used such diluted paint in the airbrush that all eight of the paintings were made with a single tube of mars black acrylic.
Later work has branched into non-rectangular grids, topographic map style regions of similar colors, CMYK color grid work, and using larger grids to make the cell by cell nature of his work obvious even in small reproductions. The Big Self Portrait is so finely done that even a full page reproduction in an art book is still indistinguishable from a regular photograph.
Close has also continued to explore difficult photographic processes such as daguerreotype in collaboration with Jerry Spagnoli and sophisticated modular/cell-based forms such as tapestry. Close's photogravure portrait of artist Robert Rauschenberg, “Robert” (1998), appeared in a 2009 exhibition at the Heckscher Museum of Art in Huntington, New York, featuring prints from Universal Limited Art Editions. Close's wall-size tapestry portraits, in which each image is composed of thousands of combinations of woven colored thread, depict subjects including Kate Moss, Cindy Sherman, Lorna Simpson, Lucas Samaras, Philip Glass, and Close himself. They are produced in collaboration with Donald Farnsworth of Magnolia Editions in Oakland, CA.
In 2000, he was awarded the National Medal of Arts.
Close currently lives and paints in Bridgehampton, New York. He has been represented by The Pace Gallery, in New York since 1977.
Close appeared on The Colbert Report on August 12, 2010, where he admitted he watches the show every night.
Christopher Finch wrote a biography, Chuck Close: Life, which was published in 2010.
✰ This photo was featured on The Epic Global Showcase here: bit.ly/236sWny
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Galaxyyyy ⭐️20⭐️ #sharingart #artsharez #art_conquest #artsexpo #artsupporting #arts_help @the_artheart #artshub @LADYTEREZIE @theart365 #arts_help #aboutt_life #illustrate #artistsdrop #arts_talents #BOUCHAC #artsupporting #artworksinsta #artworksfever #arts_mag #ArtExtremes #young_artists__help #dailyarts #artopia_gallery #creative_exposure_ #artists_rescue #Art_Spotlight #artifeature #arrtposts #SupportLivingArtists #justartspiration #artaesthetics #featuring_artx #artifeature @art_perspective @frenchartgalerie @art_hyperrealism @artistic.empire #artground @artisticshow @instart_heart @thewowart
by @nevessart on Instagram.
Macro shot of a few modules and patch cables of my Modular Synthesizer. Taken with a large aperture and a bracketing series of 5 exposures. My goal was to expose the amazing high quality hardware look and feel.
130 x 162 cm.
Istvan (known as Etienne) Sandorfi was born in Budapest in 1948 and died in 2007. His father was director of the American company, IBM, in Hungary. Because of this association he served five years in Stalinist prisons during the Communist regime and his family was deported to an isolated Hungarian village. At the time of the 1956 uprising the Sandorfi family fled the country and became expatriates, first in Germany, then in France. Greatly affected by the violence of the revolution and by the aberration of political systems in general, Istvan took refuge in drawing, and then, at the age of 12, in oil painting.
Art became his overriding passion to the detriment of his schooling. At the age of 17, while still in secondary school, Sandorfi had his first individual exhibition at a small gallery in Paris. After his second exhibition, in 1966, he gave up drawing to devote himself exclusively to painting.
In view of the morbid nature of his son's paintings and their lack of commercial success, Sandorfi's father enrolled Istvan at the School of Fine Arts, where he was to gain a degree, and at the School of Decorative Arts.
This, the family thought, would give him a more prestigious status than that of mere "artist". Gradually he achieved financial independence by accepting, along with the occasional sale of paintings, portrait commissions and few advertising illustrations. In 1973 Sandorfi had his first significant exhibition, at the Museum of Modern Art in Paris. Exhibitions were to follow in France, Germany, Belgium and finally the United States.
For about fifteen years he painted a series of large-scale self-portraits, aggressive and theatrical in character, which gave him an ambiguous reputation with dealers and the public. It was written that he 'painted like an assassin'. His paintings began to know real success only from 1988 onwards, when the artist abandoned his disturbing images and began to concentrate and further elaborate on his technique, which is still evolving.
Preferring exclusive contracts, less for financial reasons than to avoid the administrative aspects of his career and a professional milieu with which he couldn't identify, Sandorfi worked with the Beaubourg Gallery from 1974 to 1976, and then for seven years with the Isy Brachot Gallery. From 1984 to 1988 his work was exhibited in various galleries by an interesting patron and collector and then handled by the Prazan-Fitoussi Gallery from 1990 to 1993.
From 1994 to 2001, his paintings have been exclusively represented by the Jane Kahan Gallery in New York. Visceral and self-taught in work as in life, Sandorfi has since childhood distrusted 'things learned' and has remained true to his personal convictions. He prefers to paint at night, but each day goes to bed later than the day before, thus living in a perpetual time lag, which sidelines him from any social life. Sandorfi reconciles this isolation with his family circle (he is the father of two girls, Ange and Eve) and his emotional life, thereby maintaining a delicate and studied balance between his life and his work.
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Study of the day:
Hyperreality (Jean Baudrillard) ? . . or Plane of emergence ?
[...] Telles seraient les phases successives de l'image:
1- elle est le reflet d'une réalité profonde
2- elle masque et dénature une réalité profonde
3- elle masque l'absence de la réalité profonde
4- sans rapport avec quelque réalité que ce soit, elle est son propre simulacre pur.
[...]
( Jean Baudrillard - Simulacres et simulation - 1981 )
Such would be the successive phases of the image:
1 - it is the reflection of an in-depth reality
2 - it masks and distorts an in-depth reality
3 - it masks the absence of an in-depth reality
4 - without any relationship with some reality, it is its own pure simulacrum.
[...]
( Jean Baudrillard - Simulacra and simulation - 1981 )
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Oublier Jean Baudrillard !?
(Et pas seulement pour faire sourire Foucault)
Quittons la perception linéaire de l'histoire, abandonnons totalement ce matérialisme historique dont JB ne s'est pas débarrassé (bien qu'il s'en défende). L'histoire n'est pas linéaire, elle n'est pas un collier de perles d'événements chronologiquement enfilés sur le fil cartésien du lien de causalité. L'histoire est une explosion entropique chaotique (au sens de la théorie du chaos), hautement et hétérogènement sensible aux conditions initiales, un foisonnement hétéromogêne . . à la fois hétérogène et auto-similaire de gênes (i.e. de sèmes) aptes à engendrer spontanément et fortuitement (i.e. chaotiquement) des processus et des êtres émergents dès lors que les conditions émergentiques sont réunies.
Malheureusement pour JB et pour nous, sa pensée phénoménologique pénétrante n'est pas assez physicienne, ni assez systémicienne. Ce que s'interdit de voir JB, est que l'hyperréalité est l'émergence dans la noosphere d'un espace sémiotique dont les gênes sont les sèmes des espaces sémiotiques des cognosphères socialisées sous-jacentes.
La noosphère est un univers émergent de la cognosphère
(au sens émergentiste systémique).
J.Baudrillard s'interdit ainsi de voir qu'elle est un saut qualitatif de nature (et non de valeur) et indissociablement, qu'elle est aussi un saut dimensionnel au sens d'une commutation de référentiel (entre des espaces plus ou moins connexes et/ou plus ou moins imbriqués et interopérants).
De ce point de vue, on ne peut pas le suivre sur la ligne nihiliste et moralisante qu'il franchit de temps à autres (bien qu'il s'en défende), et où il tente en vain de démontrer que l'hyperréalité est une régression fatale de représentation de la réalité jusqu'au simulacre et jusqu'à l'autophagie du simulacre par lui-même.
Sa définition de l'hyperréalité-simulacre n'est qu'anecdotiquement assez juste d'un point de vue politique, anecdotiquement et ô combien tragiquement. Un certain 11/09 a-t-il eu lieu ? On peut en effet s'interroger. Le pentagone s'est-il tiré une balle dans le pied, en voulant attendre le flagrant déli terroriste qui lui donnerait droit de légitime défense préventive ? Le flagrant calibre s'est-il avéré adapté à la situation ? La riposte préventive s'est-elle faite légitime défense, c'est à dire proportionnée et juste ? Qui a invité la médiacratie au grand banquet ?
En revanche, sa définition de l'hyperréalité est si réductrice qu'elle en est erronée du point de vue systémique. Non Jean, une émergence hyperréelle n'est pas nécessairement régressive et autophage. Non Jean, l'Art n'est pas mort. L'hyperréalité n'est que création émergente néguentropique ; elle peut être aussi bien régressive que progressive, ou n'importe quoi d'autre et dans toutes les directions à la fois.
Le saut qualitatif de valeur, i.e. morale ou éthique cette fois (et non de nature), n'est pas imputable aux objets, aux signes, aux images ou à leur sémiotique, mais seulement imputable aux agents, aux auteurs, aux "néguentropes" qui les construisent. Seuls les auteurs d'hyperréalités, dans leurs oeuvres néguentropiques à même de contenir les errements de l'Entropie (*), sont aptes à faire régresser, prodigresser, proagresser, réprogresser, etc., le sens politique qu'ils donnent volontairement ou non à leurs propositions (mais seulement dans le sens qu'ils veulent - principe de créativité - et toujours réduits au sens qu'ils peuvent - principe de mémoire -).
En résumé. Aucun jugement de valeur ne peut être systémique, mais seulement moral et éthique, politique, et dans ce registre JB ne nous balance que son point-de-vue certes, mais un point-de-vue un tantinet réactionnaire (bien qu'il s'en défende).
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Lacquer on Bronze with polished Stainless Steel.
Unbelievably life-like.
La Biennale di Venezia Arte 2017
AI image created with Kandinsky 2.2
PROMPT:
detailed (painting by artist Otto Rapp 1.5) at the Cryptid Taxidermy Museum in post apocalyptic Wonderland, in heaven everything is fine by lady in the radiator and brothers quay, design by Max Ernst, by H.R. Giger, by Giuseppe Arcimboldo, Hieronymus Bosch, Alphonse Mucha, intricately detailed, hyperrealism, fantasy, Bogomils Universe, imperial colors