View allAll Photos Tagged hyperrealism
"Innocent moment holds the most beauty."
In this painting "innocence is beauty", Artist Jiendra Padhiyar captures the beautiful moments of innocent childhood on canvas. The scene of a cute girl, smiling even after making any mistake inspires us to accept mistakes with a smile and love and live every momentof life with a smile. The smiling face on this canvas just tells the way to live life.
Hold this innocence on your wall. Get this painting only on www.hyperbrush.com
Size: 3 * 3 Feet
Price: 35,000 Rs.
Format panoramique : 65 cm sur 25
Environ 24 h de travail
Exposé a Gaïa en centre ville (la boutique de BD)
Hand held 3 raw shots at -1.3ev, 0ev and 1.3ev converted to HDR and tone mapped. I was lucky the girl was not moving for a while so I got her on the photo nice and sharp.
Shot at Utrecht CS.
Event: Meet the Media Guru | Keiichi Matsuda
Date: 14/10/2014
Venue: Mediateca Santa Teresa - Milan, Italy
Twitter: @mmguru / #mmgMatsuda
Photo by Stefano Bossi
Painting by the French artist Franck Lloberes | See more: www.parisartweb.com/artists/painting/franck-lloberes/ | #Art #Painting #Photorealism #France #FranckLloberes #ParisArtWeb
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Acrylic on canvas, 18"x36"
Painted from an Edward S. Curtis original photograph (Two-Moons, Cheyenne)
Distorted GRIT, unruly angles, surreal, hyperreal - Bikes escape bike shop and try FOR A dimension jump thru a poster to a brighter and better world (Aka. Somethings gotta give, maan!) (LIGE VED LOKE CYKLER) | © Frederik Emil Høyer-Christensen & gbCrates
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.
Georg Baselitz (1938), Einer malt mein Porträt/One paints my Portrait, 2002 (Albertina - Sammlung Batliner)
Georg Baselitz
By turning the subjects of his pictures upside down, the painter Georg Baselitz has made his place in art history. Baselitz, who has produced groups of such works since 1968, calls this approach "the best way of freeing what is painted of any content in order to turn to painting as such." What is depicted is "neutralized," the subject matter is there but without getting in the way and distracting attention from the painterly qualities of form and picture. The result is an interplay of form and motif, figure and color, sensibility and composition.
A pioneer of neo-expressive figurative painting in the 1960s, Baselitz has, in recent years, taken to reviewing his earlier, long legendary, works from a theme-and-variation aspect: his own oeuvre is not only examined with regard to quality and substance over time but also reinterpreted. The furious and forceful works of former time are juxtaposed with a lighter colored, serene, sometimes also self-ironic remix. With gestural ease and painterly verve, the large painting take up a dialogue with the painter's own work and biography.
Durch das Auf-den-Kopf-Stellen der Bildmotive hat der Maler Georg Baselitz sich in die Kunstgeschichte des 20. Jahrhunderts eingeschrieben. Baselitz, der solche Werkgruppen seit 1968 realisiert, bezeichnet dieses Vorgehen als "besten Weg, das Gemalte vom Inhalt zu befreien, um sich der Malerei an sich zuzuwenden". Das Dargestellte wird "neutralisiert", das Motiv ist da, ohne sich vorzudrängen und die Aufmerksamkeit von den malerischen Qualitäten des Bildes abzulenken. Es kommt zu einem Zusammenspiel von Form und Motiv, Figur und Farbe, Empfindung und Komposition.
In den 1960er-Jahren ein Vorreiter der neoexpressiven figurativen Malerei, setzt Baselitz sich in jüngster Zeit noch einmal unter dem Gesichtspunkt von Thema und Variation mit seinen früheren, längst legendären Bildfindungen auseinander. Das eigene Schaffen wird nicht nur auf Qualität und Standhaftigkeit hin überprüft, sondern neu interpretiert. Den wütenden, kraftstrotzenden Arbeiten von früher steht nun der farblich aufgehellte, heitere mitunter auch selbstironische Remix gegenüber. Die großformatige Gemälde nehmen mit gestischer Leichtigkeit und malerischer Verve den Dialog mit dem eigenen Werk und der eigenen Biografie auf.
The focus of Albertina Contemporary Art is on the art of the second half of the 20th century. Both the stars and the diversity of post-1945 art will be on display: works by Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz and Maria Lassnig, among others, form the centerpiece of this year's presentation of contemporary positions from the ALBERTINA.
Around 80 masterpieces illustrate the multi-faceted artistic production, ranging from hyperrealism to abstraction, from facets of aesthetics of color to political topics, and illustrate the complex parallel currents of the past decades.
Der Fokus von Albertina Contemporary Art liegt auf der Kunst der zweiten Hälfte des 20. Jahrhunderts. Gezeigt werden sowohl die Stars als auch die Vielfalt der Kunst nach 1945: Werke von Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz und Maria Lassnig bilden neben anderen das Zentrum der diesjährigen Präsentation zeitgenössischer Positionen aus der ALBERTINA.
Rund 80 Meisterwerke illustrieren die facettenreiche künstlerische Produktion, die von Hyperrealismus bis Abstraktion, von farbästhetischen bis zu politischen Themen reicht, und veranschaulichen die komplexen parallelen Strömungen der vergangenen Jahrzehnte.
Since Error 99 showed up on my Canon EOS Rebel XS, I've been taking photos with my Panasonic Lumix DMC-TZ5. I remember before I got my Rebel, this is what I did all my photograph yin. It brought back memories. At times, the lack of control over aperture and focus does frustrate me, but it's better than nothing.
I took this photo in my front/side yard. Apparently the Lumix TZ5 has macro capability so I put that feature to use. Added some effects with Photoshop and this is what I ended up with.
Btw I took my Canon EOS Rebel XS to the Canon Factory Service Center today and they said the repair will cost $190... I'm still thinking if I should, that's a lot of money to me.