Jordan Sokol — Tomboy, 2016.
Drawing: charcoal and white chalk on blue paper, 21 x 14 in.
111 works of art labeled Hyperrealism
Gottfried Helnwein — Murmur of the Innocents No. 23, 2011.
Painting: oil and acrylic on canvas, 180 x 275 cm.
Gottfried Helnwein — Murmur of the Innocents No. 18, 2010.
Painting: oil and acrylic on canvas, 180 x 252 cm.
Jan de Bray — A Couple (The Artist and his Wife Represented as Ulysses and Penelope), 1668.
Painting: Oil on canvas, 109.9 x 65.1 cm. Speed Art Museum, Louisville, Kentucky.
Nice painting? Yes. Excuse to revisit the recognition scene between Penelope and Odysseus? I’ll take any excuse.
When she heard the sure proofs Ulysses now gave her, she fairly broke down.
She flew weeping to his side, flung her arms about his neck, and kissed him.
“Do not be angry with me Ulysses,” she cried, “you, who are the wisest of mankind. We have suffered, both of us. Heaven has denied us the happiness of spending our youth, and of growing old, together; do not then be aggrieved or take it amiss that I did not embrace you thus as soon as I saw you. I have been shuddering all the time through fear that someone might come here and deceive me with a lying story; for there are many very wicked people going about…”
Then Ulysses in his turn melted, and wept as he clasped his dear and faithful wife to his bosom.
As the sight of land is welcome to men who are swimming towards the shore, when Neptune has wrecked their ship with the fury of his winds and waves — a few alone reach the land, and these, covered with brine, are thankful when they find themselves on firm ground and out of danger — even so was her husband welcome to her as she looked upon him, and she could not tear her two fair arms from about his neck.
From the translation by Samuel Butler.
Arturo Samaniego — Pilgrimage South, 2013.
Painting: oil on canvas.
Tamaz Avaliani — Anthony Hopkins, 2014.
Painting: Ink on paper, 31 x 94 cm.
Mary Jane Ansell — Liberty Rests, 2013.
Painting: oil on canvas.
Francois Bard — Recumbent, 2014.
Painting: oil on canvas, 150 x 195 cm.
Mary Jane Ansell — Girl in a Cocked Hat II, 2013.
Painting: oil on aluminium panel.
Michael Sydney Moore — Blue in Green, 2014.
Painting: oil on canvas, 130 x 80 cm.
Mary Jane Ansell — Untitled (‘Liberty’s Arc’ series), 2015.
Painting: oil on canvas.
Mary Jane Ansell — Untitled (‘Liberty’s Arc’ series), 2015.
Painting: oil on canvas.
Jan Brueghel the Elder — Still Life of Flowers in a Stoneware Vase, c. 1607.
Painting: oil on oak panel, 67 x 51 cm. Private collection.
Based on Brueghel’s correspondence, we know that the artist’s ambition was to depict the rare and beautiful in nature, as naturalistically as possible. He writes in an August 1606 letter:
[The painting is remarkable] as much for naturalness as for the beauty and rarity of various flowers. Some are unknown and little seen in this area; for this, I have been to Brussels in order to depict some few flowers alla prima [directly from the natural source] that are not found in Antwerp… .In this picture I have invested all my skill. I do not believe that so many rare and different flowers have ever been painted before, nor finished with such diligence: it will be a fine sight in the winter. Some of the colors are very close to the real thing.
Read more: Bruegel’s Still Life of Flowers in a Stoneware Vase
