Hyperrealism - painting
Hyperrealism (photorealism, a new realism) was born in the second half of the twentieth century in the United States and for several years had aroused the interest of both audiences and critics. It was created as a consequence of pop-art and was an opposition to Abstract Expressionism. Hyperrealists images appeared for the first time in 1970 at an exhibition in Venice, and two years later they have had great success at the exhibition “Documenta 5” in Kassel in Germany.
Hyperrealists set themselves a goal to reflect elements of reality with photographic precision, and used photography as a starting point. Also, earlier trends in painting used photography as a supporting material and inspiration. But none of them has not gone so far in the radicalization of the project. Hyperrealism does not allow for any interference with the creative artist. However, it requires great technical skills and precision.
Hyperrealists took pictures of everyday, often making impression of random, objects and situations. They were also interested in discovered by the Futurists, the simultaneity of events. Photographic objects were shop windows, car bodies and bumpers of cars, reflections in windows, as well as passport photos, etc.. Then, they transferred a photograph onto the canvas by using a special device called epidiascope (projector type), and accurately and objectively projecting photo on canvas.
Hyperrealists chose to paint, substances that allow maximum precision - oil paints, acrylic paints and synthetic resins.
Hyperrealistic painting was a kind of gauntlet thrown by the human machine. It was mechanical, and impersonal work that were Hyperrealists accused of by their opponents.
Main hyperrealism assumptions:
- model for the painter’s work is always a picture or a slide,
- photographic pattern is transferred onto canvas by projection
- objects presented in the picture are the literal, precise reproduction of real objects,
- the topics come directly from the reality that surrounds painter,
- work is not influenced by artist’s characteristics , his personality and individuality
- photo ceases to be an inspiration and only serves as inherent and consciously chosen component in the process of creating.
Leading representatives of hyperrealism in the painting:
- Richard Estes („Untitled”, 1967; “Drugstore”, 1970, “Mobile Home”, 1970),
- Don Eddy („Cemetery of wrecks”,1971, “New Shoes for H“, 1973 -74),
- Claudio Bravo („Adam”),
- Chuck Close („Kent”, 1970, "Leslie", 1973),
- Audrey Flack („Crayola”, 1972-1973, “Chanel” , 1974),
- Denis Peterson („FootAction”, “Whipping Post Lane").