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
'This book takes in a lot of territory, all solidly researched and footnoted. But dry? Fuhgeddaboutit.'
Patricia T O'Conner on E J White's 'You Talkin' To Me? The Unruly History of New York English'.
'The identification of a mighty force sparkling intermittently seems to me to constitute the finest and most consistent poetic achievement of Goudie’s book.'
Candia McWilliam on @lachlangoudie's 'The Story of Scottish Art'.
Though 'the hotel had a reputation as the area’s best, its staff were not used to looking after world leaders, so the arrival of Cuba’s new strongman, Fidel Castro, came as something of a shock.'
@dcsandbrook on @simonhallwriter's 'Ten Days in Harlem'.