Hyperrealism, although photographic in essence, often entails a softer, much more complex focus on the subject depicted, presenting it as a living, tangible object. Since it evolved from pop art, the photorealistic style of painting was uniquely tight, precise, and sharply mechanical with an emphasis on mundane, everyday imagery. They often omitted human emotion, political value, and narrative elements. Strict Photorealist painters tended to imitate photographic images, omitting or abstracting certain finite detail to maintain a consistent over-all pictorial design. Hyperrealist painters and sculptors use photographic images as a reference source from which to create a more definitive and detailed rendering, one that often, unlike photorealism, is narrative and emotive in its depictions. However, hyperrealism is contrasted with the literal approach found in traditional photorealist paintings of the late 20th century. It is also called super-realism or hyper-realism and painters like Richard Estes, Denis Peterson, Audrey Flack, and Chuck Close often worked from photographic stills to create paintings that appeared to be photographs." Graham Thompson wrote "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. American painter Denis Peterson, whose pioneering works are universally viewed as an offshoot of photorealism, first used "hyperrealism" to apply to the new movement and its splinter group of artists. Ĭharles Bell, Circus Act, Silkscreen on Paper, Smithsonian American Art Museum, 1995Įarly 21st century hyperrealism was founded on the aesthetic principles of photorealism. Among contemporary European hyperrealist painters we find Gottfried Helnwein, Willem van Veldhuizen and Tjalf Sparnaay, Roger Wittevrongel, as well as the French Pierre Barraya, Jacques Bodin, Ronald Bowen, François Bricq, Gérard Schlosser, Jacques Monory, Bernard Rancillac, Gilles Aillaud and Gérard Fromanger. Since then, hyperealisme has been used by European artists and dealers to apply to painters influenced by the photorealists. The exhibition was dominated by such American photorealists as Ralph Goings, Chuck Close, Don Eddy, Robert Bechtle and Richard McLean but it included such influential European artists as Domenico Gnoli, Gerhard Richter, Konrad Klapheck, and Roland Delcol. The art dealer Isy Brachot coined the French word hyperréalisme, meaning hyperrealism, as the title of a major exhibition and catalogue at his gallery in Brussels in 1973.
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