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Photorealism

IT'S ALL TOO BEAUTIFUL.
NOT FANTASY ART BUT
REALITY ART. TO TAKE A PHOTOGRAPH AND PAINSTAKINGLY PAINT IT BIG. REALLY BIG. TO MAKE AS
MUCH (OR EVEN MORE) OF REAL LIFE AS LIGHT AND SHADOW ALLOW. TO PLUS EVERYTHING.


The juggernaut is on the cover for a reason. Published in 1980, Louis K. Meisel's first book of Photo-Realist art,  Photorealism, is a heavyweight contender for the most magnificent, magnified, superbook yet. Groundbreaking and, at 500+ pages, small table breaking too.
 

Bathed in light. This is the work of San Francisco's Robert Bechtle. It was painted in oils from a photograph he would have taken himself. At five by seven foot, it must radiate. It can only be admired, like the roses in the garden. Everything is light. There is a lot to be said for summer.
 

There is a lot more to be said now! A black and white reproduction of Hilo Chen's Beach 37 . The book surveys thirteen major artists and then fifteen more who were either new on the scene in 1980 or only dealt in one aspect of photorealism. Hilo Chen was one of the latter. He only concerned himself with female nudes. As if that were any reason to be consigned to the back of the book and in black and white! By the way, it is actually better in black and white.
 

Hilo Chen in colour. 1975's Beach 47 . This is blissful. Being able to paint in such extraordinary style is one thing - choosing perfect subjects is another. This just can't be any better. 
 

Yes please! Strawberry Tart Supreme airbrushed into existence in 1974 by Audrey Flack. See more of the superbook on one of the most pleasurable links we ever published!
 
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