heaven and earth united, palpable, Hyperrealistic, hyper detailed, full HD, 8k, high definition --ar 16:9 - Image #3 @Loïc Bocquet

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 @Saralgam

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

Generated with Stable Diffusion AI. Prompt: "hyperrealistic detailed portrait of a character in a scenic environment by hsiao ron cheng dan hillier fintan magee". Image was 2x upscaled with Topaz Gigapixel with standard mode 0 de-noising and very low blur reduction.

Grimdark aetherpunk ominous magnificent epic-level Planescape elf wizard from Dungeons and Dragons 5th Edition wielding a huge wand, anime style, 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 @Saralgam

Jackson Slattery

Born in Merbourne, Australia, 1983

Lives and works in Montreal / Tiohtià:ke / Mooniyang, Quebec

2020

Oil on canvas

Collection of the Musée d'art contemporain de Montréal

A 20 19 P 1

The skilfully executed paintings of Jackson Slattery are characterized by their hyperrealistic rendering of subjects taken from photographs and their composition, which borrow from or imitate collage techniques. His artistic practice questions, conceptually and stylistically, the relevance of producing paintings at a time of proliferation of images.

Siamese Dream shows an iconic shot from music culture, a photo of the musicians Billy Corgan, James Iha, Jimmy Chamberlin and D'arcy Wretzky, founding members of the American band the Smashing Pumpkins. Their second album, Siamese Dream, released in 1993, is considered one of the top alternative-rock albums of the late twentieth century. Also popularized in the 1990s, the bamboo stalks arranged in the foreground, part of the kitsch legacy of that time, act as a kind of trompe-l'oeil. Working at the intersection of realities from a bygone age, Slattery examines and mournfully portrays the relationship between the idea and subject of a painting.

William Trost Richards - American, 1833 - 1905

October, 1863

West Building, Main Floor — Gallery 64

A dirt path winds through a dense forest with leaves that glow gold around silvery-gray boulders in this vertical landscape painting. Close to us, the boulders are partially covered with moss and growth in shades of green and russet red. Sunlight from the upper right catches a sapling crowned with flame-red leaves that angles in from the lower right corner of the painting. Beyond it leafy yellow-green shrubs crowd beside two more putty-gray boulders. The path recedes just left of center and is lined by trees covered with rough bark. The path ends at a fiery copper glow in the distance. The artist signed and dated the painting in the lower right corner: “WM. T. Richards Phil. 1863.”

Richards' early work as a landscape painter was strongly influenced by the paintings of the Hudson River School, which was at that time in its most active and creative phase. These works followed the school's well-established formulas for depicting expanses of rural and wild scenery in a romanticized and stylized manner. In 1858, Richards saw an exhibition of English Pre-Raphaelite paintings in Philadelphia. These works displayed a hyperrealistic style, brilliant coloring, and often addressed subjects pertaining to history, literature, religion, or modern society.

Under the influence of the Pre-Raphaelites, Richard's landscape style changed dramatically, becoming more meticulous and precise. He abandoned the panoramic compositions he had favored earlier for more closely focused views of forest interiors with highly detailed foregrounds.October is of impressive scale for this period of his work, a marvel of careful observation and scrupulous portrayal reflecting the influence of the Pre-Raphaelite painters. The foreground, with its lovingly detailed rocks and plants, is overarched by trees resplendent with autumn foliage. In the distance, the forms of the forest dissolve in a radiant display of color and light, animated by small specks of blue sky revealed amidst the leaves.

The same year he painted October, Richards was elected a member of the Association for the Advancement of Truth in Art, a group of American Pre-Raphaelite followers who similarly sought spiritual truths through a diligent and detailed study of nature. Although this movement was relatively short-lived, lasting less than a decade, it resulted in a number of exceptional landscape and still life works by artists including Richards, Thomas Charles Farrer, and John Williams Hill. While Richards's Pre-Raphaelite paintings are considered by many to be his finest accomplishment, they are few in number. After 1867, the artist turned his attention to marine subjects, producing seascapes executed with an eye more focused on atmosphere and drama than exacting fidelity to nature.

William Trost Richards was born in Philadelphia and began to draw at a young age. At thirteen he was forced to leave school to support his family and found a job designing ornamental metal fixtures. He continued to study art, eventually taking classes at the Pennsylvania Academy of the Fine Arts and exhibiting his first work there in 1852.

In 1855 he made the first of several trips to Europe to look at art. An admirer of the great American landscape artists of his day, Frederic Edwin Church and John F. Kensett, Richards was also interested in European interpretations of landscape. During his many trips, he visited American artists working abroad. Richards made his home in Philadelphia and spent summers at Atlantic City and Cape May, New Jersey. In 1890 he settled in the seaside town of Newport, Rhode Island.

Rocky coasts, beaches, and rolling waves were the subjects that established Richards' reputation as a painter in the nineteenth century. A draftsman and landscape painter, Richards initially depicted woodland scenes but eventually specialized in seascapes. His work, done in oil and later in watercolor, was highly regarded for its precise detail, and, at the same time, the spaciousness of his scenes.

________________________________

The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.

The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.

The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.

The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.

The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).

en.wikipedia.org/wiki/National_Gallery_of_Art

Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”

www.doaks.org/resources/cultural-philanthropy/national-ga...

..

________________________________

The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.

The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.

The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.

The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.

The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).

en.wikipedia.org/wiki/National_Gallery_of_Art

Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”

www.doaks.org/resources/cultural-philanthropy/national-ga...

.

One small crystal cube floating on a pedestal inside a large spaceship, hyperrealistic, lifelike, photorealistic, --ar 16:9 --style raw --v 6.1 @生成マン

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.

Mueck’s hyperrealistic sculptures captivated me due to his use of varied materials. Using resin, fibreglass, silicone and many other materials he creates hyperrealistic likenesses of human beings.

Grimdark aetherpunk amazing enhanced angel of war, anime style, 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 @Saralgam

Having fun with vibrance settings. In this particular case, it had the odd effect of turning a "seemed interesting at the time, not so interesting in post process" shot into a stock photograph.

Rather amusing.

double exposure photo of an isolated hyperrealistic sci-fi spaceship and clouds of dark matter and stardust --ar 16:9 @Carol Van Natta

Kehinde Wiley

Born in Los Angeles in 1977

2015

Oil on canvas

In process of acquisition

Inventory 8.2016

The Montreal Museum of Fine Arts, in process of acquisition.

The New York artist Kehinde Wiley has attained international acclaim with a vital message: "Painting is about the world we live in. Black people live in the world. My choice is to include them. This is my way of saying yes to us." Wiley challenges the pre-eminent artistic language that has ignored people of colour for hundreds of years. Taking up the visual vocabulary of glorification of Byzantine, Renaissance, Baroque and Neoclassical portraiture, he puts young Black men in positions of power. This approach yields hyperrealistic, stylized portraits of today's "Black and Brown men," as the artist himself describes them.

Wiley's source for Simeon the God Receiver is a fifteenth-century icon of the Novgorod school. The athletic body of its model, Eric Murphy, is covered in tattoos with multiple, although sometimes obscure, meanings: a rosary evoking religion; a portrait of Murphy's son; the logo of the magazine Rolling Stone, a reference to pop culture; and the phrases Hated by Many and Loved by Few, sometimes associated with hip-hop and street gang culture. The transformation of Murphy into Simeon (a figure in the Gospel of Luke), granting him redemption and saintliness, is remarkable. The botanical motifs and devotional posture contrast with the powerful physique and striking tattoos, emphasizing the subject's grace, nobility and refinement. Such reappropriation of the Western portrait is consistent with Afro-American young people's proud self-assertion through taking control of their own image.

See a quick review of this painting here

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.

Living room of a house in the moon inside of a spaceship hyperrealistic mesmerizing --ar 3:2 @Cristina Rivera

hyperrealistic sleek image of an ancient spaceship belonging to king Ravan of Lanka, sleek shape, dark grey metallic colour, flying against a sinster grey sky, spitting reddish fire, magical, legendary, ancient folklore, Show Ravana standing with a navigating device inside a translucent control room in the center. @Swastik Productions

This is another example of some hyperrealistic coloring. Same flower, same garden as before.

AI Overview

Artist and Style:

Carole A. Feuerman is known for her hyperrealistic sculptures, particularly of swimmers and bathers.

Subject Matter:

"Survival of Serena" depicts a lifelike female figure in a swimsuit and swim cap, leaning on an inner-tube.

Location:

This specific sculpture is part of a permanent collection at Markowicz Fine Art, which is one of only two galleries in the United States to hold a permanent collection of Feuerman's sculptures.

Meaning:

The artist was inspired to create this iconic sculpture by the immigrants she observed floating into Key West from Cuba, giving the piece a deeper meaning related to survival and migration

================================================

Camera: Olympus OM-D E-M5 Mark II Mirrorless

with Full-Spectrum Conversion (LifePixel).

Sensor: Micro 4/3.

Lens: Olympus M.Zuiko Digital ED 12-100mm f/4.0.

Focal Length = 18mm (similar to 35mm full-frame).

Support: Tripod with Geared Head.

--------------------------------------------------------------------------------

Filter: UVIROptics U-330 UV Bandpass Filter

(UV + Blue + Green + IR).

NOTE: The filter is comprised of two Hoya glass elements:

U-330, 1.5mm thick ; and S8612, 2mm thick.

--------------------------------------------------------------------------------

Exposure Quality: Raw (Olympus ORF).

--------------------------------------------------------------------------------

Post-Processing: Lightroom Classic 12.2.1 (Windows).

LR Presets: none.

Post-Processing Quality: Initially ORF ; later flattened to TIFF.

NOTE: There was significant post-processing of the bland and relatively colorless out-of-camera raw file. For example, the U-330 UV filter suppresses warmer colors. Some of these colors were selectively reconstituted and altered (e.g., the red of the door, the blue of the awning (originally a brownish yellow), and the yellow of the house). As a second example, the initially muddy whites on the various planes of the two foreground houses were corrected and balanced with respect to one another. As a final example, there were undesirable artifacts resembling green color fringing in and around various background elements which were minimized.

--------------------------------------------------------------------------------

Original File Aspect & Size: 4:3 ; 16.0MP (4912 x 3264).

Cropped Aspect & **Size: 4:3 ; 12.24MP (4040 x 3030).

**Size is prior to conversion from TIFF file to JPG output file.

JPG Size: 12MP (4000 x 3000).

JPG Quality: 100 (Lightroom Export Quality setpoint).

--------------------------------------------------------------------------------

File ID: AfterTheStorm Extr(ClrLin) V01R01 Res.306### 20201023-01-01 SShJ100@4K.jpg

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.

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

Grimdark mystic mysterious tonberry apprentice from Final Fantasy VII standing in the middle of a huge magic library, anime style, 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 @Saralgam

hyperrealistic city , busy places, shuttles, mobility with shared autonomous shuttles driving in a mega city, futuristic, clean, star wars like, also nature--aspect 7:4 @Modular

A surreal bread golem, humanoid body sculpted from golden baked bread, with cracked crust muscles and soft doughy joints, flour-dusted surface, glowing round eyes made of baked rolls. Standing against a warm brown backdrop, smiling while holding a perfectly dressed hot dog with ketchup and mustard. Hyperrealistic textures, whimsical fantasy, bakery-inspired surrealism, warm cinematic lighting.

A hyperrealistic artistic depiction of a cherry cluster transformed into a luxurious masterpiece. The cherries gleam with deep ruby-red lacquer, their surfaces adorned with intricate floral patterns in shimmering gold and sapphire blue. Each flower design glows like royal filigree, blending traditional craftsmanship with surreal elegance. The golden stems and metallic leaves catch the light, making the fruit appear like precious jeweled ornaments. Set against a clean white background, the contrast emphasizes the opulence and surreal beauty of these enchanted fruits. Ultra-detailed, 8K resolution, photorealistic luxury surrealism, high-fashion still life.

Peaks of gigantic old skyscrapers above the cloud and smog line with drones and futuristic planes in future Chicago, sci-fi, dark, thriller, cinematic, future earth, hyperrealistic, --ar 3:2 --upbeta --s 50 --style raw - Image #4 @Prima debil

hyperrealistic painting of bali, mechanical designs, temples 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

www.marcellobarenghi.com MUSIC: “Positive Summer” by Cinquequarti audiojungle.net/user/Cinquequarti www.cinquequarti.com/ Support my FAC…

sausagemakerreviews.com/coca-cola/drawing-time-lapse-coca...

A highway leading to the horizon, planets and spaceships in space, a futuristic city on top of mountains, scifi style, blue light effect, laser beams, hyperrealistic style, colorful, vibrant colors, bright lighting, fantasy, sci fi concept art, science fiction concept art, digital painting, detailed illustration, high resolution, high detail, cinematic, cinematic lights, octane render, in the style of octane render. --ar 2:3 @Quby Creative

futuristic and modern spaceship bridge with blue and white coloration, planet in view when looking out of the window, 4k, professional shading, professional lighting, hyperrealistic @illumarzati

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 angel of war, full body, anime style, angel bodysuit, enhanced equipment, 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 @Saralgam

by designboom ift.tt/1OZplRv

Graphite Pencil Drawing Dibujo Lapiz Grafito

Background design, Hyperrealistic fogy luminus mountain range and a river, cute color palette, Behance, Pinterest, dribble::3 , octane render v 5::1 @Klaimax

Created with Visions of Chaos

softology.pro/voc.htm

Peaks of gigantic old skyscrapers above the cloud and smog line with drones and futuristic planes in future Chicago, sci-fi, dark, thriller, cinematic, future earth, hyperrealistic, --ar 3:2 --upbeta --s 50 --style raw @Prima debil

Located on Granville Island, Vancouver, BC - the green of teh building contrasts well with the underside of the bridge.

Solarpunk utopian cute supernatural sophisticated 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 #2 @4thegoodofmany

hyperrealistic city , busy places, shuttles, mobility with shared autonomous shuttles driving in a mega city, futuristic, clean, star wars like, also nature--aspect 7:4 @Modular

by sharp_art_ ift.tt/1oVGiFC

At a rustic wooden table, a strange humanoid being sits with skin textured like the peel of a ripe orange. Its oversized head, complete with a stem sprouting from the crown, gives it an uncanny fruit-baby appearance. With wide, glossy black eyes and a furrowed brow of concentration, it eats orange slices with deliberate seriousness, holding another whole orange in its free hand. A plate piled with bright, juicy wedges rests before it, their citrus glow echoing its own body. In the blurred background, a shark-like figure lurks playfully, heightening the surreal absurdity of the scene. Render in hyperrealistic detail, emphasizing the rough citrus skin, the glistening fruit juice, and the unnerving mix of human and produce—capturing both whimsy and unsettling strangeness.