View allAll Photos Tagged hyperrealistic
Solarpunk utopian hi-tech cute nerdy second to none, full body, anime style, sci-fantasy, digital art, masterpiece painting, ultra detailed, ultra high definition, 8K resolution, 3D shading, superior quality, cover illustration, complex design, luminous highlights, rich vibrant colours, hyperrealistic, meticulously hyper detailed, high contrast, artstation --niji 5 - Image #1 @Saralgam
hyperrealistic painting of Portofino, mechanical designs, white houses and palms, technological, detailed engineering, vivid color, elegant, meticulous, cinematic, cyberpunk style, highly detailed, realism, intricate, acrylic on canvas, 8 k resolution, concept art, by noriyoshi ohrai, francesco di giorgio martini
it's for an advertising for a 8,5x11 book, i need a view with a young fitness healthy woman having breakfast with the notebook closed on her side, the front cover must be visible, the front cover of the notebook has to be in evidence because it's the main objet in the advertising,Many details, hyperrealistic, photorealistic, 8k, --ar 16:9 - Image #1 @d36w
a hyperrealistic image of a large empty industrial metal ship hanger room on a space ship with three large windows that are looking out into dark space for a sci fi movie with a little wear and rust --ar 16:9 - Image #1 @xtatic4576
Grimdark futuristic amazing badass cyborg Anubis samurai, full body, anime style, stealth stance, sci-fi, digital art, masterpiece painting, ultra detailed, ultra high definition, 8K resolution, 3D shading, superior quality, cover illustration, complex design, luminous highlights, dynamic rich vibrant colours, hyperrealistic, meticulously hyper detailed, high contrast, artstation --niji 5 --ar 3:4
"A Primitive Tribal old Shaman". Envision a hyper-realistic digital art portrayal of "A Primitive Tribal old Shaman" a majestic powerful Primitive Tribal old Shaman, highly detailed, vibrant, Intricate details, natural key light reflections, highly detailed features exuding complexity. Reflecting and illuminated by the natural key light of sunset, the Shaman's features come to life, revealing a complexity and enigmatic powerful beauty that commands attention. In the background the dark jungle. Mesmerizing HDR highly detailed, vibrant, vivid colors, digital art masterpiece, high resolution, sharp detail, production cinematic character render, ultra high quality, fluid and dynamic, sharp focus, stylish and complex realistic image, chiaroscuro, highly detailed, high definition, hyperrealistic, breathtaking beauty, pure perfection, volumetric light, vivid colors reflects. An image of rare beauty, with loose and splash colors in the style of Alberto Seveso, Olivier Valsecchi, Stefan Gesell and Zena Holloway.
Background design, Hyperrealistic fogy luminus mountain range and a river, cute color palette, Behance, Pinterest, dribble::3 , octane render v 5::1 @Klaimax
Grimdark aetherpunk amazing enhanced angel of war, anime style, angel bodysuit, enhanced equipment, high fantasy, digital art, masterpiece painting, ultra detailed, ultra high definition, 8K resolution, heavy shading, superior quality, cover illustration, complex design, luminous highlights, rich vibrant colours, hyperrealistic, meticulously hyper detailed, high contrast, artstation --niji 5 - Image #3 @Saralgam
arafed view of a village with many lights in the buildings, Chinese dream village, amazing wallpaper, hyperrealistic photo of a village, ancient Asian village, Japanese city, rainy afternoon, ancient Chinese castle cyberpunk, beautifully lit buildings, at night during the rain, beautiful and aesthetic, photography, cinematic, 8k, high detail --ar 9:16 --v 5.2 --s 750 --chaos 33 --style raw
A View in Vermont - c.1874
William Louis Sonntag (1822 - 1900)
“A View in Vermont” is a marvelous example of Sonntag's panoramic views of the American wilderness. A central body of water leads the eye diagonally into a mountainous, forested, brilliantly colored landscape. The foreground is highly detailed, showing a variety of trees and shrubbery; the distant mountain peaks are suffused with light and dissolve in pale yellow and purple mists. Representative of Sonntag’s "classic" period--roughly 1855 to 1875, when he and the Hudson River School were at the height of their popularity--the painting is characteristic of the artist in its subject and composition.
Sonntag preferred the edge of the wilderness--often only a few figures inhabit his scenery. In the New Britain painting, they are a pair of fisherman who are distinguished by their long poles and brightly colored vests. Sitting on the shore, leisurely enjoying the beautiful day, they provide a sense of scale and an entrée into the scene. Nearby, the chopped-off tree stumps show evidence of human settlement, the first steps in the inevitable march of progress whereby the valley will eventually be populated.
While the topographic detail and basic format of the picture have much in common with the formulas developed by Sonntag's Hudson River School contemporaries, Sonntag was often singled out for his striking, almost hyperrealistic, use of color. His canvases are accentuated by lush greens and blues brighter and bolder than those actually found in nature: note, for example, the bright aquamarine column of smoke emanating from the log cabin on the far river bank in “View in Vermont”. Sonntag was well known for his autumn scenes, in which he harmonized the cool greens with the russets and browns of autumn and the reds of bare rock surfaces. Noting the artist’s "system of coloring and his way of producing effects," the “Cosmopolitan Art Journal” found "much that is fresh, original, and decidedly pleasing"; in contrast, critic James Jackson Jarves decried Sonntag's "wildly picturesque" views as a "absolutely disagreeable."
During the 1870s Sonntag exhibited a number of canvases depicting Vermont scenes, though it is not known exactly when he visited the state. By 1875, when Sonntag exhibited the New Britain painting at the National Academy of Design, the Hudson River landscape was considered "traditional and obsolescent"; a critic for “Scribner's Monthly” sarcastically commented: "Mr. Sonntag favors us with what might pass for a rude design for an Indian shawl, but is stated to be a view in Vermont."
William Sonntag was born in East Liberty, Pennsylvania, and raised in Cincinnati, where his parents relocated a year after his birth. Little is known about his early artistic training. He had decided to become an artist by his early teens, though his father tried to dissuade these ambitions by apprenticing him to a carpenter and, later, to an architect. Sandwiched between these two apprenticeships was a trip to Wisconsin territory. This extensive riverboat tour, which introduced the impressionable young man to the wonders of the American frontier, may have fueled, rather than extinguished, his desire to paint.
While throughout his early career Sonntag worked as a diorama scene painter and stagehand at the Western Museum, he quickly earned a reputation as Cincinnati's premier landscape painter. He first exhibited a painting in 1841 at the Society for the Promotion of Useful Knowledge in Cincinnati. About 1846 his work gained him the attention of the Reverend Elias Lyman Magoon, a Cincinnati art collector and Baptist minister who encouraged him to paint an epic allegorical series, “The Progress of Civilization” (whereabouts unknown), which likely bore more than a slight resemblance to Thomas Cole's celebrated paintings of the same theme. By the end of the decade Sonntag was exhibiting and selling paintings at both the American Art-Union in New York and the newly formed Western Art Union in Cincinnati. About 1850 he painted the panorama of “Paradise Lost and Paradise Regained” (destroyed), which was shown in New York in May 1851. In 1852 Sonntag was commissioned by the Baltimore and Ohio Railroad to paint the scenery along its Maryland route; he and his wife of less than a year, Mary Ann Cowdell, used the excursion as a delayed honeymoon.
In 1853 Sonntag took an eight-month trip to Europe with John R. Tait, his student and studio mate, and Robert S. Duncanson, a fellow Cincinnati painter. While the group visited the art centers of London and Paris, Sonntag showed a fondness for Rome and the Italian countryside. Several years later he returned to Italy with his wife and painted a number of works based on Italian scenery. After this second trip, the Sonntags relocated to New York, where Sonntag established his studio.
Sonntag became known for his scenes of America's wilderness. To find his subjects he made regular summer sketching trips to Ohio, Kentucky, the Carolinas, West Virginia, Pennsylvania, New Hampshire, Vermont, and Maine. His characteristic works are idealized landscape panoramas executed in the detailed photographic style of the Hudson River School. In the early 1870s, however, his work began to betray the influence of the Barbizon style in its increasingly limited palette, looser brushwork, smaller scale, and more intimate scope.
Sonntag first exhibited at the National Academy of Design in 1855 and was elected an associate and academician of that body in 1860 and 1861, respectively. A member of the Artist's Fund Society and the American Society of Painters in Water Colors, he also exhibited regularly at the Pennsylvania Academy of the Fine Arts and the Brooklyn Art Association. By exhibiting his works across the country--in Boston, Chicago, Saint Louis, Cleveland, San Francisco—and in Paris, Sonntag enjoyed a widespread reputation throughout his career.
ink.nbmaa.org/people/1488/william-louis-sonntag
_________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Grimdark aetherpunk amazing enhanced high elf mage champion, full body, anime style, high mage bodysuit, enhanced staff of power, high fantasy, digital art, masterpiece painting, ultra detailed, ultra high definition, 8K resolution, 3D shading, superior quality, cover illustration, complex design, luminous highlights, rich vibrant colours, hyperrealistic, meticulously hyper detailed, high contrast, artstation --niji 5 --ar 2:3 @🌔Luna Stories🌔
From the museum label: Rawles has called this painting her "visual elegy" for victims of anti-Black state violence, including Kurt Reinhold, Daunte Wright, and Ma'Khia Bryant. Rawles often situates Black figures in hyperrealistic yet abstract bodies of water that can simultaneously appear tempestuous and protective. The waves in the upper half of the composition constitute a topographic map of cities and states with histories of state-sanctioned violence. Rawles has said the title refers to "the armor I have created to shield myself from this emotional toll, and [l] pray that this cycle of violent police encounters [...] will one day come to an end."
Generated with Stable Diffusion AI v1.4. Prompt: "dependency hell,software development,hell,artstation,masterpiece,ray tracing,hyperrealistic,ultra detailed,chilly,frozen,software dependenci ". Seed: 1469452156. CFG usually either 14, or 7. Image was upscaled with Topaz Gigapixel. Gigapixel config - Upscale: 2x. Mode: standard. De-noising: 0. Blur Reduction: 30. Face recovery: 15. Prompts often "inspired" by ones on lexica.art. Test images run in beta.dreamstudio.ai with the 9-image layout at 20 step. The seed is copied from the good ones, 60-80 step versions ran in batches on Google Colab.
stunning beautiful woman with long black hair, wearing_form-fitting_sleeveless_black_shimmering_jumpsuit, high_heel_boots, small_sunglasses, bowler_hat, leaning_on_a_red_Jaguar_E-Type_1969_car, Great Britain, London, Big Ben, sunny day, traffic, photorealistic, hyperrealistic, full body wide view, front view, detailed, panoramic view
Eight artificial intelligences, visualized as hyperrealistic humanoid avatars, participate in a group therapy session. Visitors are invited to attend their session and witness their attempt to emancipate themselves from discriminatory algorithms.
Photo: Göktuğ Güntav / Piksel. Creative Solutions
Realistic Custom Logo on Sphere Template for Photoshop - Change Background, Change Sphere Texture and Your Logo (You can also write text). Easy to edit with single click.
hyperrealistic painting of marrakech, mechanical designs, traditional houses and palms, bazar, technological, detailed engineering, vivid color, elegant, meticulous, cinematic, cyberpunk style, highly detailed, realism, intricate, acrylic on canvas, 8 k resolution, concept art, by noriyoshi ohrai, francesco di giorgio martini
cute and lovely christmas random insight, awesome artistic tattoo design, light and bright colors, logo in stained glass style, light and bright colors, glowing gradient, by mucha, cinematic lighting, UltraHD, dynamic composition, CG render, unreal engine, extremely detailed, intricate, hyper realistic, concept art, anatomically correct, strangely atmosphere, fractal, intricate detail, highly detailed, hyperrealistic, artstation, concept art, art by artgerm, 8K, no signature, photorealism, no signature - Image #2 @Minuit12
Eight artificial intelligences, visualized as hyperrealistic humanoid avatars, participate in a group therapy session. Visitors are invited to attend their session and witness their attempt to emancipate themselves from discriminatory algorithms.
Photo: Göktuğ Güntav / Piksel. Creative Solutions
fiery volcanic landscape, elemental plane, fantasy, Nordic, world of Warcraft, magic the gathering, elder scrolls, d&d, witcher, dark souls, realistic, photorealistic, hyperrealistic, 8k - Image #2 @Smitty
A View in Vermont - c.1874
William Louis Sonntag (1822 - 1900)
“A View in Vermont” is a marvelous example of Sonntag's panoramic views of the American wilderness. A central body of water leads the eye diagonally into a mountainous, forested, brilliantly colored landscape. The foreground is highly detailed, showing a variety of trees and shrubbery; the distant mountain peaks are suffused with light and dissolve in pale yellow and purple mists. Representative of Sonntag’s "classic" period--roughly 1855 to 1875, when he and the Hudson River School were at the height of their popularity--the painting is characteristic of the artist in its subject and composition.
Sonntag preferred the edge of the wilderness--often only a few figures inhabit his scenery. In the New Britain painting, they are a pair of fisherman who are distinguished by their long poles and brightly colored vests. Sitting on the shore, leisurely enjoying the beautiful day, they provide a sense of scale and an entrée into the scene. Nearby, the chopped-off tree stumps show evidence of human settlement, the first steps in the inevitable march of progress whereby the valley will eventually be populated.
While the topographic detail and basic format of the picture have much in common with the formulas developed by Sonntag's Hudson River School contemporaries, Sonntag was often singled out for his striking, almost hyperrealistic, use of color. His canvases are accentuated by lush greens and blues brighter and bolder than those actually found in nature: note, for example, the bright aquamarine column of smoke emanating from the log cabin on the far river bank in “View in Vermont”. Sonntag was well known for his autumn scenes, in which he harmonized the cool greens with the russets and browns of autumn and the reds of bare rock surfaces. Noting the artist’s "system of coloring and his way of producing effects," the “Cosmopolitan Art Journal” found "much that is fresh, original, and decidedly pleasing"; in contrast, critic James Jackson Jarves decried Sonntag's "wildly picturesque" views as a "absolutely disagreeable."
During the 1870s Sonntag exhibited a number of canvases depicting Vermont scenes, though it is not known exactly when he visited the state. By 1875, when Sonntag exhibited the New Britain painting at the National Academy of Design, the Hudson River landscape was considered "traditional and obsolescent"; a critic for “Scribner's Monthly” sarcastically commented: "Mr. Sonntag favors us with what might pass for a rude design for an Indian shawl, but is stated to be a view in Vermont."
William Sonntag was born in East Liberty, Pennsylvania, and raised in Cincinnati, where his parents relocated a year after his birth. Little is known about his early artistic training. He had decided to become an artist by his early teens, though his father tried to dissuade these ambitions by apprenticing him to a carpenter and, later, to an architect. Sandwiched between these two apprenticeships was a trip to Wisconsin territory. This extensive riverboat tour, which introduced the impressionable young man to the wonders of the American frontier, may have fueled, rather than extinguished, his desire to paint.
While throughout his early career Sonntag worked as a diorama scene painter and stagehand at the Western Museum, he quickly earned a reputation as Cincinnati's premier landscape painter. He first exhibited a painting in 1841 at the Society for the Promotion of Useful Knowledge in Cincinnati. About 1846 his work gained him the attention of the Reverend Elias Lyman Magoon, a Cincinnati art collector and Baptist minister who encouraged him to paint an epic allegorical series, “The Progress of Civilization” (whereabouts unknown), which likely bore more than a slight resemblance to Thomas Cole's celebrated paintings of the same theme. By the end of the decade Sonntag was exhibiting and selling paintings at both the American Art-Union in New York and the newly formed Western Art Union in Cincinnati. About 1850 he painted the panorama of “Paradise Lost and Paradise Regained” (destroyed), which was shown in New York in May 1851. In 1852 Sonntag was commissioned by the Baltimore and Ohio Railroad to paint the scenery along its Maryland route; he and his wife of less than a year, Mary Ann Cowdell, used the excursion as a delayed honeymoon.
In 1853 Sonntag took an eight-month trip to Europe with John R. Tait, his student and studio mate, and Robert S. Duncanson, a fellow Cincinnati painter. While the group visited the art centers of London and Paris, Sonntag showed a fondness for Rome and the Italian countryside. Several years later he returned to Italy with his wife and painted a number of works based on Italian scenery. After this second trip, the Sonntags relocated to New York, where Sonntag established his studio.
Sonntag became known for his scenes of America's wilderness. To find his subjects he made regular summer sketching trips to Ohio, Kentucky, the Carolinas, West Virginia, Pennsylvania, New Hampshire, Vermont, and Maine. His characteristic works are idealized landscape panoramas executed in the detailed photographic style of the Hudson River School. In the early 1870s, however, his work began to betray the influence of the Barbizon style in its increasingly limited palette, looser brushwork, smaller scale, and more intimate scope.
Sonntag first exhibited at the National Academy of Design in 1855 and was elected an associate and academician of that body in 1860 and 1861, respectively. A member of the Artist's Fund Society and the American Society of Painters in Water Colors, he also exhibited regularly at the Pennsylvania Academy of the Fine Arts and the Brooklyn Art Association. By exhibiting his works across the country--in Boston, Chicago, Saint Louis, Cleveland, San Francisco—and in Paris, Sonntag enjoyed a widespread reputation throughout his career.
ink.nbmaa.org/people/1488/william-louis-sonntag
_________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Ron Mueck creates hyperrealistic human figures which he details with utmost craftsmanship. They seem to be made of flesh and blood, but their scale turns them into fairytale giants. With Couple under an Umbrella (2013), the artist depicts ordinary people, but exactly twice our size. His figures are clearly individuals. Yet they are not portraits of existing people. They have something universal: every viewer can identify with them, despite their irregular size.
Generated with Stable Diffusion AI v1.4. Prompt: "dependency hell,software development,hell,artstation,masterpiece,ray tracing,hyperrealistic,ultra detailed,chilly,frozen,software dependenci ". Seed: 528438924. CFG usually either 14, or 7. Image was upscaled with Topaz Gigapixel. Gigapixel config - Upscale: 2x. Mode: standard. De-noising: 0. Blur Reduction: 30. Face recovery: 15. Prompts often "inspired" by ones on lexica.art. Test images run in beta.dreamstudio.ai with the 9-image layout at 20 step. The seed is copied from the good ones, 60-80 step versions ran in batches on Google Colab.
This is the kind of work that will seriously make you second-guess what you’re seeing.
Gustavo Silva Nu ez is a hyperrealistic painter. He specializes in creating scenes of people floating, swimming, or even just sitting in water. The level of realism in his paintings is pretty darned...
monsterviral.net/youll-never-believe-these-are-just-paint...
" 3D HDR A stunning woman of hyperrealistic dramatic painted swirling clouds smoky mist explosions hyper coloured colors, highly detailed, sharp focus elegant extremely detailed fantasy hyperrealistic red Hair, highly detailed digital painting elegant fantasy oil on canvas beautiful high definition crisp quality in the style of rembrandt and Gaspard Monge elegant extremely detailed intricate very attractive beautiful imperial colors crisp quality colourful cinematic postprocessing Michelangelo Daniel Gerhartz crisp realism professional cosmetic make up 8 K 3D highly detailed porcelain white skin stunning realistic eyes extremely perfect closed lips Perfect highly realistic eyes Perfect realistic hair 64K, UHD, HDR, HQ Hyper realistic eyes Sylverdali hyper realistic facial features Hyper realistic reflective eyes AIvision Aligram 4k 4K 3D Perfect Proportional Anatomy explosive colour burst
Generated with Stable Diffusion AI v1.4. Prompt: "dependency hell,software development,hell,artstation,masterpiece,ray tracing,hyperrealistic,ultra detailed,chilly,frozen,software dependenci ". Seed: 11. CFG usually either 14, or 7. Image was upscaled with Topaz Gigapixel. Gigapixel config - Upscale: 2x. Mode: standard. De-noising: 0. Blur Reduction: 30. Face recovery: 15. Prompts often "inspired" by ones on lexica.art. Test images run in beta.dreamstudio.ai with the 9-image layout at 20 step. The seed is copied from the good ones, 60-80 step versions ran in batches on Google Colab.
Generated with Stable Diffusion AI v1.4. Prompt: "dependency hell,software development,hell,artstation,masterpiece,ray tracing,hyperrealistic,ultra detailed,chilly,frozen,software dependenci ". Seed: 3718767350. CFG usually either 14, or 7. Image was upscaled with Topaz Gigapixel. Gigapixel config - Upscale: 2x. Mode: standard. De-noising: 0. Blur Reduction: 30. Face recovery: 15. Prompts often "inspired" by ones on lexica.art. Test images run in beta.dreamstudio.ai with the 9-image layout at 20 step. The seed is copied from the good ones, 60-80 step versions ran in batches on Google Colab.
Generated with Stable Diffusion AI v1.4. Prompt: "dependency hell,software development,hell,artstation,masterpiece,ray tracing,hyperrealistic,ultra detailed,chilly,frozen,software dependenci ". Seed: 6. CFG usually either 14, or 7. Image was upscaled with Topaz Gigapixel. Gigapixel config - Upscale: 2x. Mode: standard. De-noising: 0. Blur Reduction: 30. Face recovery: 15. Prompts often "inspired" by ones on lexica.art. Test images run in beta.dreamstudio.ai with the 9-image layout at 20 step. The seed is copied from the good ones, 60-80 step versions ran in batches on Google Colab.
Eight artificial intelligences, visualized as hyperrealistic humanoid avatars, participate in a group therapy session. Visitors are invited to attend their session and witness their attempt to emancipate themselves from discriminatory algorithms.
Photo: Göktuğ Güntav / Piksel. Creative Solutions
This is part of a hyperrealistic sculpture called "The Family" made by Jorge Melício. This piece depicts the mother who, although is resting, seems to be controlling every bit of the getaway stroll... or so I like to imagine.
AI Overview
+5
The image shows "Pulp Fiction," a hyperrealistic bookshelf print by British artist Phil Shaw. It's a digital print that creates a visual story through the titles on the book spines. Key details include:
Artist: Phil Shaw, known for his bookshelf prints.
Genre: The artwork embodies and subverts the pulp fiction genre.
Narrative: The book titles, when read across the shelves, create a hidden or new narrative.
Technique: It is a hyperrealistic digital print.
Interpretation: The artwork invites viewers to find patterns and hidden meanings within the titles.
Exhibitions: Shaw's work has been displayed in public and private collections globally.
Commission: One of Shaw's artworks was commissioned by the British Prime Minister as a gift for world leaders at the G8 summit in 2013.
Meaning of Pulp Fiction: Pulp fiction refers to action-based stories published inexpensively from around 1900 to the 1950s.
A green spaceship with grey lights traveling underground. Anime style, high fantasy, digital art, masterpiece painting, ultra high definition, 3D shading, superior quality, cover illustration, complex design, luminous highlights, rich vibrant colors, hyperrealistic, meticulously hyper detailed, high contrast, art station, 8k resolution. @NormalComic
hyperrealistic photograph of daffy duck as captain america. white background. wide angle full body view --ar 2:3 --v 4 --q 2
Grimdark aetherpunk amazing enhanced high elf mage champion, full body, anime style, high mage bodysuit, enhanced staff of power, high fantasy, digital art, masterpiece painting, ultra detailed, ultra high definition, 8K resolution, 3D shading, superior quality, cover illustration, complex design, luminous highlights, rich vibrant colours, hyperrealistic, meticulously hyper detailed, high contrast, artstation --niji 5 --ar 2:3 @🌔Luna Stories🌔