French artist
*1965 Saint-Jean-de-Luz
*1965 Saint-Jean-de-Luz
Czech artist
*1937, Dolní Dobrouč – 2014, Prague
Quote:
“I do not want to make things that are just positively beautiful or ugly; we all know that life is not a single position, there are always many aspects and rough things mingled with lyrical ones, so if you want to be truthful, which is the point of art, you must use both sides of what you perceive.”
*1937, Dolní Dobrouč – 2014, Prague
Quote:
“I do not want to make things that are just positively beautiful or ugly; we all know that life is not a single position, there are always many aspects and rough things mingled with lyrical ones, so if you want to be truthful, which is the point of art, you must use both sides of what you perceive.”
Italian artist
*1974 Todi
*1974 Todi
Spanish artist
*1959 Valencia
*1959 Valencia
Polish artist
*1958, Warsaw – ?, Brussels
Quote:
“Even as a child, I remember being obsessed with light. On sleepless nights in my room, I would watch the movement of car lights reflecting from the wall to the ceiling and back. Years later, I was astonished when I saw Rembrand's use of light for the first time. I remarked, ''This is the LIGHT''. At the time, I also believed in fairytales, in the magical worlds I had heard about. I loved to visualise them in my mind. Later on, I understood that all those worlds I created in my mind simply did not exist. I was very disappointed. But then, when I was 12, one of my teachers helped me to discover my passion for architecture. While studying architecture, I realised that I had found what I had been looking for. As architect, I thought I would be able to create a fantastic world with structure, where light could play on forms. Unfortunately, I soon discovered that there were many problems that had nothing to do with architecture, problems related to law, money, foolishness of investors, and so on. I became disillusioned with my career.I had never thought of becoming an artist, but I soon realised that painting would offer me the same opportunities to create my own world of light and to share my love to architecture.Today, painting interiors is my greatest challenge. It is my chance to share with the entire world the 'genius locci' of the places created by human genius. I am not interested in natural subjects, those not been made by human ''hands''. That's why I paint interiors, because there I can find man's glorious mind. I especially like to paint cathedrals. I can feel all the mystery of ''another space'', where we sometimes come, but not spend our lifetime. Inside these structures we feel small and not so important as we sometime think we are. We can see that incredible, enormous structure, filled with endless lights pouring through a stained-glass window. Ecclesiastical interiors give us a chance to contemplate our deepest thoughts. There we think no mundane thoughts - we leave them outside. There is a real border between the ''sacred'' and ''profane''. The harmony of light and darkness, showing all the beauty of details and space, make us calm and deeply happy. For me, light and shadow is a metaphor for the everlasting battle between these two basic elements of human existence. In the contrast between light and darkness lies the secret of every human beginning.”
*1958, Warsaw – ?, Brussels
Quote:
“Even as a child, I remember being obsessed with light. On sleepless nights in my room, I would watch the movement of car lights reflecting from the wall to the ceiling and back. Years later, I was astonished when I saw Rembrand's use of light for the first time. I remarked, ''This is the LIGHT''. At the time, I also believed in fairytales, in the magical worlds I had heard about. I loved to visualise them in my mind. Later on, I understood that all those worlds I created in my mind simply did not exist. I was very disappointed. But then, when I was 12, one of my teachers helped me to discover my passion for architecture. While studying architecture, I realised that I had found what I had been looking for. As architect, I thought I would be able to create a fantastic world with structure, where light could play on forms. Unfortunately, I soon discovered that there were many problems that had nothing to do with architecture, problems related to law, money, foolishness of investors, and so on. I became disillusioned with my career.I had never thought of becoming an artist, but I soon realised that painting would offer me the same opportunities to create my own world of light and to share my love to architecture.Today, painting interiors is my greatest challenge. It is my chance to share with the entire world the 'genius locci' of the places created by human genius. I am not interested in natural subjects, those not been made by human ''hands''. That's why I paint interiors, because there I can find man's glorious mind. I especially like to paint cathedrals. I can feel all the mystery of ''another space'', where we sometimes come, but not spend our lifetime. Inside these structures we feel small and not so important as we sometime think we are. We can see that incredible, enormous structure, filled with endless lights pouring through a stained-glass window. Ecclesiastical interiors give us a chance to contemplate our deepest thoughts. There we think no mundane thoughts - we leave them outside. There is a real border between the ''sacred'' and ''profane''. The harmony of light and darkness, showing all the beauty of details and space, make us calm and deeply happy. For me, light and shadow is a metaphor for the everlasting battle between these two basic elements of human existence. In the contrast between light and darkness lies the secret of every human beginning.”
French artist
*1968 Paris
(selected artworks were created between 2010 and 2018)
*1968 Paris
(selected artworks were created between 2010 and 2018)
Spanish artist
*1979 Ourense
*1979 Ourense
Spanish artist
*1957 Madrid
*1957 Madrid
Spanish artist
*1936 Tomelloso
Quotes:
“I believe that something else, the substance of your spirit, stays incorporated in the work. The work is made to transmit emotion. The starting point of the artist, if they are figurative, is the world. … The material with which you work is the objective world, but you incorporate some of your soul, and that is art.”
“I don't give importance to technique. I condition everything so that the painting has spirit, in every way. If not, technique does not do me any good. I have done that: put in all the forms, ordered them in the best possible way, taken measurements. Everything was done correctly, but the painting ended without substance, vacant of emotion. And that, when I had that sensation, it seemed to me a complete failure, it seemed that technique wasn't worth anything. Not that technique doesn't have importance, but it's like the word is the link to the ideas and nothing more. So you acquire technique, but then what do you do with it?”
“When my uncle taught me, painting came to me with great ease, with great ease. But this can be deceiving, because you can be very talented and have nothing to say.”
*1936 Tomelloso
Quotes:
“I believe that something else, the substance of your spirit, stays incorporated in the work. The work is made to transmit emotion. The starting point of the artist, if they are figurative, is the world. … The material with which you work is the objective world, but you incorporate some of your soul, and that is art.”
“I don't give importance to technique. I condition everything so that the painting has spirit, in every way. If not, technique does not do me any good. I have done that: put in all the forms, ordered them in the best possible way, taken measurements. Everything was done correctly, but the painting ended without substance, vacant of emotion. And that, when I had that sensation, it seemed to me a complete failure, it seemed that technique wasn't worth anything. Not that technique doesn't have importance, but it's like the word is the link to the ideas and nothing more. So you acquire technique, but then what do you do with it?”
“When my uncle taught me, painting came to me with great ease, with great ease. But this can be deceiving, because you can be very talented and have nothing to say.”
British artist
*1971 Nuneaton
*1971 Nuneaton
Austrian artist
*1948 Wiena
*1948 Wiena
Deutche artist
*1964 Bad Iburg
*1964 Bad Iburg
Czech artist
*1977 Pelhřimov
Quote:
“A realistic way to perceive reality and transcribe it into painting (working with a model), a sense for detail, relative perseverance, a capacity to listen, a capacity to love…animals.”
*1977 Pelhřimov
Quote:
“A realistic way to perceive reality and transcribe it into painting (working with a model), a sense for detail, relative perseverance, a capacity to listen, a capacity to love…animals.”
Czech artist
*1980 Broumov
Quote:
“Hyperrealism or realistic paintings keep me in our real world; for me they are a point of reference that helps me survive in various respects. I am verifying what reality is and how far it can reach.”
*1980 Broumov
Quote:
“Hyperrealism or realistic paintings keep me in our real world; for me they are a point of reference that helps me survive in various respects. I am verifying what reality is and how far it can reach.”
Scottish artist
*1963 Dundee
*1963 Dundee
French artist
*1961 Boulogne Billancourt
Quote:
“We often fail to really see a familiar environment. We assume it lacks beauty or mystery because we have a practical relationship with it. A Photorealist painting teaches us to consider objects differently. Objects that our daily routine deprives of purpose or importance acquire dignity and relevance through artistic representation. Whereas a camera often captures objects by chance. the painter places objects on his canvas intentionally, devoting hours of work to their representation. We may only glance at a photograph, whereas we typically peruse a painting because the elements that compose it are symbols of our civilization.”
*1961 Boulogne Billancourt
Quote:
“We often fail to really see a familiar environment. We assume it lacks beauty or mystery because we have a practical relationship with it. A Photorealist painting teaches us to consider objects differently. Objects that our daily routine deprives of purpose or importance acquire dignity and relevance through artistic representation. Whereas a camera often captures objects by chance. the painter places objects on his canvas intentionally, devoting hours of work to their representation. We may only glance at a photograph, whereas we typically peruse a painting because the elements that compose it are symbols of our civilization.”
Czech artist
*1980 Prague
Quote:
“Reality is very interesting for me thanks to the visual image of things. That's why I have always been fascinated by illusion. In hyperrealism and photorealism, I am also interested in a certain poetic nature of photography. The feeling of an exact depiction of the shape and perspective and the overall photographic quality of the scene. I like pictures that actually look like photos and also have something in common with oil painting.”
*1980 Prague
Quote:
“Reality is very interesting for me thanks to the visual image of things. That's why I have always been fascinated by illusion. In hyperrealism and photorealism, I am also interested in a certain poetic nature of photography. The feeling of an exact depiction of the shape and perspective and the overall photographic quality of the scene. I like pictures that actually look like photos and also have something in common with oil painting.”
Spanish artist
*1982 Barcelona
*1982 Barcelona
Czech artist
*1981 Šumperk
Quote:
“I think that Hyperrealism will always be part of my work, even if it is not manifest explicitly in my paintings. I hope so because thanks to its direct connection to the perceived reality around me, Hyperrealism tries to be as close to that reality as possible and in this effort it seems to me it is genuine. And it is only based on a true, sincere perception of the world, that I want to create my works, fully conscious of the fact that it is a subjective relationship.”
*1981 Šumperk
Quote:
“I think that Hyperrealism will always be part of my work, even if it is not manifest explicitly in my paintings. I hope so because thanks to its direct connection to the perceived reality around me, Hyperrealism tries to be as close to that reality as possible and in this effort it seems to me it is genuine. And it is only based on a true, sincere perception of the world, that I want to create my works, fully conscious of the fact that it is a subjective relationship.”
Czech artist
*1932 Prague
Quote:
“It is essential to know as much as possible about the theme depicted - ideally everything. Because if not, then it will impact the work in a negative way.”
*1932 Prague
Quote:
“It is essential to know as much as possible about the theme depicted - ideally everything. Because if not, then it will impact the work in a negative way.”
Czech artist
*1980, Čeladná
*1980, Čeladná
Deutche artist
*1932 Dresden
Quote:
“I would like to try to understand what is. We know very little, and I am trying to do it by creating analogies. Almost every work of art is an analogy.”
*1932 Dresden
Quote:
“I would like to try to understand what is. We know very little, and I am trying to do it by creating analogies. Almost every work of art is an analogy.”
Spanish artist
*1973 Cádiz
*1973 Cádiz
British artist
*1937 Birmingham
*1937 Birmingham
British artist
*1978 London
*1978 London
Spanish artist
*1970 Madrid
*1970 Madrid
Italian artist
*1942 Rome
Quote:
“The subject should not be seen as such but abstractly”
*1942 Rome
Quote:
“The subject should not be seen as such but abstractly”
Swedish artist
*1952 ?
*1952 ?