Super Realism, or Hyperrealism, or Photographic Realism, is as fragmented and heterogeneous as the Pop Art from which it supposedly developed, and it is difficult to formulate any kind of generalisations about it. It involves verisimilitude, objectivity, technical skill, and a concern (for whatever reasons) with the perceived and immediate world. Origins for it can be traced back to Rembrandt’s painting of a slaughtered ox, or Durer’s intimate watercolours of grasses and weeds, or to the great Renaissance tradition of portraiture – in fact, to all the occasions when artists have tried to represent exactly what they see, either confining three dimensions in two or reproducing objects in a material other than their original one.
Follow Literary Review on Twitter
'Only in Britain, perhaps, could spy chiefs – conventionally viewed as masters of subterfuge – be so highly regarded as ethical guides.'
In this month's Bookends, @AdamCSDouglas looks at the curious life of Henry Labouchere: a friend of Bram Stoker, 'loose cannon', and architect of the law that outlawed homosexual activity in Britain.
'We have all twenty-nine of her Barsetshire novels, and whenever a certain longing reaches critical mass we read all twenty-nine again, straight through.'
Patricia T O'Conner on her love for Angela Thirkell. (£)