Archivi tag: hyperrealist

Art for Women’s sake

In celebration of International Women’s Day, we want to homage it with a pearl from the recent art history. In 1991-92 Gottfried Helnwein created 48 portraits of the most important women in the world who left an indelible imprint in history in every field.


Helnwein’s was a direct reply to the 48 male portraits painted twenty years earlier, in 1971-72, by German artist Gerhard Richter, who represented only men as the main and influent personalities of the world.
Richter’s men were made in gray in a photorealistic technique based on black and white photographs in encyclopedias, in contrast Helnwein painted his women in fiery red.


All his life, Helnwein spent his talent to criticize the society and give a voice to those who don’t have it. In those years, he met the German feminist Alice Schwarzer and in a radio interview he spoke about his 48 portraits, highlighting the problem of excluding women, both in the past and in the present.

Alice Schwarzer e heln
Nowadays, we’re witnessing a always larger wave of indignation and defense of equal rights, by both men and women, but it’s clear that in the past years it was not very common to actively stand up for this cause.


The 48 women painted by Helnwein are:
Sofia Kowalewskaja, Virginia Woolf, Louise Otto-Peters, Ella Fitzgerald, Coco Chanel, Lise Meitner, Josephine Baker, Hannah Arendt, Claire Waldoff, Marilyn Monroe, Käthe Kollwitz, Tina Turner, Patricia Highsmith, Bertha von Suttner, Janis Joplin, Gertrude Stein, Simone de Beauvoir, Christa Wolf, Mileva Einstein, Amelia Earhart, Else Lasker-Schüler, Pina Bausch, Erika Fuchs, Selma Lagerlöf, Marie Curie, Marie-Luise Kaschnitz, Emmeline Pankhurst, Florence Nightingale, Susan Sontag, Marlene Dietrich, Anne Frank, Camille Claudel, Margaret Mead, Rosa Mayreder, Irmtraud Morgner, Meret Oppenheim, Georgia O’Keeffe, Isadora Duncan, Astrid Lindgren, Rosa Luxemburg, Frida Kahlo, Maria Callas, Billie Holiday, Clara Schumann, Alice Schwarzer, Ingeborg Bachmann, Elfriede Jelinek, Hedwig Dohm.

Below, you can see the exhibition at Galerie Rudolfinum in Prague in 2011, where all the portraits by Richter (on right) and Helnwein (on left) were shown together, face to face, for the first time. Both cycles are part of the permanent collection of the Ludwig Museum, Cologne.



This and other contents will be present in the #2 issue of Hyperrealism Magazine, that will be out in March 2018.


All the photos and infos belong to Gottfried Helnwein.

Behind the hyperrealism of Jacques Bodin

Jacques Bodin-De dos XXXXIX- (1).jpg

Jacques Bodin is a French based painter who realizes truly exceptional hyperrealistic paintings. His superior technique allows him to excel in every subject he decides to represent, passing from portrait to still life and natural scenes with great mastery.
So, he creates some different series, but one of the most recognizable and interesting is “De Dos”, where he depicts mainly female subjects portrayed from behind, while observing a natural landscape on the blurry background.

J. Bodin Studio 3

In the first issue of Hyperrealism Magazine, Jacques told us something about his work, explaining the meaning behind these particular portraits:

One of your first series represents people portraited from
behind. What’s the meaning of this uncommon choose?
I started painting the “De Dos“ series twenty years ago.
I found some help in old masters. The reference was Caspar David Friedrich with its “Wanderer Above The Sea Of Mist”.
I worked on the theme of the human figure turning one’s back to the viewer. It was a conception of the portrait showing what is never detailed: the back and through it the interiority of the human being. The models contemplate a mysterious scene, admiring and probably experiencing a deep introspection.
The viewer and the model are the witnesses of the same scene. This situation invites to contemplation, not to confrontation.
I made about sixty paintings on this theme and frequently with more attention to what became an essential theme: the hair.
The hair becomes a kind of abstraction separating the subject from ordinary reality and endowing it with a life of its own. It becomes a world in itself, a microcosm. I focus on the essential, the spiritual oneness of the hair; there is, indeed, a connection between this magnified section of human physiognomy and the universe.

Jacques Bodin Fruits XXII

You can read the entire interview in the Hyperrealism Magazine #1:

Jacques Bodin Herbes XIV






The PseudoRealism of Paul Corfield


Paul Corfield is a UK based artist. His artistic career is really uncommon: he started with traditional photorealistic artworks, then he develops his own style in a very original idea called “Pseudorealism“. Corfield’s paintings are the result of an ongoing experiment in computational design, he creates complex subjects with geometric shapes inspired to the modern conceptual architectural design and modern sculpture. He also mix together his extraordinary hyperrealistic painting technique with these abstract concepts, giving birth to something never seen, completely new and outstanding.


We talked with Paul Corfield for the #1 issue of Hyperrealism Magazine, and here is an excerpt from his interesting interview:

Looking at your last series, it’s clear that you use an incredible hyperrealistic technique combined with an abstract concept. We could tell that you bring two opposites together in your painting. What’s the meaning and from what it comes
this idea?
All my life I’ve naturally drawn or painted in a realistic way but the abstract style came much later. My Grandad drew me a small picture of a boat when I was only maybe 5 or 6 years old. I remember it looked so real and I was instantly hooked that he made this quick scribble look so good. From then on I wanted to be an artist and realism was always at my core. From that early age I drew and painted real subjects from life or from photographs right up until around 1998. I got my first PC computer around 1994 and my first 3D modelling software a few years later. The 3D modelling was just a hobby and I never used it for hyperrealism artworks until the early 2000’s and that was when my abstract style naturally started to develop. Because the software can make anything look real, then you can explore any artistic style that you choose. Right from the very start I have experimented with simple shapes and worked on ways to manipulate them into ideas for paintings. Besides the shapes, I’m very interested in ways to manipulate colour, light and shadow. I try to bring all of those elements together into an interesting composition and also something that appears to be real. In the computer there’s a whole load of number crunching, mathematical formulas, simulations and out of all of that these arrangements gradually take shape. It takes days, sometimes weeks to build the system that will start to generate the designs and from then on it’s all about the fine tuning. Very soon after I created my first few abstract hyperrealism paintings I joined Plus One Gallery in London and then a year later I also joined the Russeck Gallery in San Francisco. That’s what I call stage 1 of my abstract development as it wasn’t long after joining those two galleries that my wife became disabled. I decided it was best to leave and concentrate on being her full time carer and at the same time I had to seek regular income because she could no longer work. Around 8 or 9 years passed before I could get back to painting and carry on developing my hyperrealism and abstract ideas. Things had moved on a lot in that time, I had to spend 18 months learning new software packages but in some ways it had been good for my development. I feel my ideas now are much stronger than they were before, the new software has allowed me to do so much more and that really brings us up to the present day. I’m gradually building up a collection of work and soon I will begin looking for a gallery to once again represent me.


You have to read the entire interview in the Hyperrealism Magazine #1: