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.
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'Sabotage became so prevalent that bankers even created their own terms – ‘asymmetric information’, ‘lack of financial literacy’, ‘the principal-agent dilemma’ – to describe how they might turn a dime from customers’ gullibility or ignorance.'
'Unlike much that was extracted from India, these paintings were not plunder, and those who created them were properly remunerated and often received due credit.'
@PParkerWriting on 'Forgotten Masters: Indian Painting for the East India Company'.
‘"I feel", Lowell told Hardwick ... "as if I were pulled apart and thinning into mist, or rather being torn apart and still preferring that state to making a decision."'
Richard Davenport-Hines on the letters of Robert Lowell and Elizabeth Hardwick.