Umelo olulungileyo, oluphantse lube yifoto yesifundo, ngaphandle kokubonakaliswa kweemvakalelo zomntu, ezicaciswe ngokuchanekileyo ngokwezonyango ukuya kutsho kwezona nkcukacha zincinci, zibonisa ukungajongi okuphantse ukubanda, yile ndlela hyperrealism kubugcisa bale mihla.
hyperrealism
I-Hyperrealism iquka ukuveliswa komfanekiso ngendlela eyinyani kangangokuba umbukeli uya kuzibuza ukuba ngaba umsebenzi owenziwe ngumzobo okanye ifoto. Iphenjelelwa kakhulu yintshukumo yobuGcisa bePop, i-hyperrealism ihlala isigxeko soluntu lwabathengi. Imizobo kunye nemifanekiso eqingqiweyo yeli xesha ihlala ibonisa imifanekiso yobomi bemihla ngemihla, imifanekiso. Ukuba isebenzisa iisimboli ezidumileyo, intshukumo ye-hyperrealist iyachasa ubuGcisa bePop kuba bubugcisa obungafumanekiyo obuncinci: kuninzi okufuziselayo.
Iindlela ezisetyenziswa ngamagcisa entshukumo zahlukene kodwa zonke zinemvelaphi yazo malunga nefoto njengemodeli. Ukuze kuphinde kuveliswe ubunyani ngokufanayo, abapeyinti ngamanye amaxesha bafaka umfanekiso kwiseyile besebenzisa iprojektha ephezulu kwaye ngaloo ndlela bazoba umfanekiso ukuya kweyona nkcukacha ilungileyo. Obunye ubuchule bubandakanya ukupeyinta ngokuthe ngqo kwifoto eprintiweyo kwifomathi enkulu kakhulu okanye ukwenza isakhelo ifoto ukuvelisa kwakhona isakhelo somsebenzi ngesakhelo (ubuchule bequadrature).
Ixesha ngalinye, injongo yomculi kukubonisa ukungathathi hlangothi kunye nenyaniso eluhlaza, ukuyijika ibe yinto elula. Ngokungafaniyo ne-photo-realism, i-motif ayisoloko ihonjiswe kwaye akukho zinkcukacha zishiywe ngaphandle. Njengoko kwimodeli yeefoto, umzobi uzama ukudibanisa izinto zembono ezifana nobunzulu bentsimi okanye ukugxila kumsebenzi wakhe. Ukudala umsebenzi obambekayo kakhulu kufuna ukuziqhelanisa okuninzi, ubuchule kunye nomonde.
Iimpawu eziphambili ze-hyperrealism ziquka ezi zilandelayo: Ukusebenzisa izixhobo zeefoto ukwenza nokudlulisa umfanekiso wokuqala kwi-canvas. Izinto ezahlukeneyo ezisetyenziselwa ukwenziwa kwemifanekiso eqingqiweyo. Ubungakanani obubalulekileyo bemizobo. Ukusetyenziswa ngokubanzi kwe-airbrush kunye neendlela zokubeka i-glazing xa upeyinta imifanekiso. Imifanekiso enesisombululo esiphezulu esinomfanekiso ocokisekileyo wazo zonke iinkcukacha zento.
Abaculi be-Hyperrealist bahlala besebenza kwi-portrait, i-landscape, okanye uhlobo lobomi. Ukongeza, phakathi kwabo kukho nababhali abakhetha ukwenza imisebenzi yobugcisa kwimicimbi ebukhali yezentlalo nezopolitiko. Ngobuchule bokuxelisa ubugcisa bombala kunye neefoto ezimnyama-ezimhlophe, iinkosi zokudweba kunye nemizobo zisebenzisa iindlela ezahlukeneyo zobugcisa kunye nezixhobo: iipensile ezilula kunye neepastel; igazi kunye namalahle; ioli kunye nepeyinti ye-acrylic; iipeni kunye nezitshizi.
Ukuxelisa ukufota kwimizobo ye-hyperrealists kugxininiswe ngeendlela ezihambelanayo zokuqulunqa ezibolekwe kumajelo amaninzi: i-cinema, intengiso, ifoto. Oku kubandakanya ukusondela, ukuqhekeka kwemifanekiso, iinkcukacha ezongeziweyo, ugxininiso olukhulu, ifreyim-by-frame image layout, kunye nobunye ubuchule.
Ngokuphathelele umxholo wayo weengcamango, i-hyperrealism isondele kubugcisa be-pop kunobugcisa bokwenyani kunye nezemfundo, kuba ibonisa kuphela iimpawu zangaphandle zezinto, ngaphandle kokubanga ubunzulu bengcamango okanye ukuchazwa kwenjongo yombhali. Ikopi echanekileyo yezinto ezibonakalayo kwi-hyperrealism isiphelo ngokwayo, ngoko ke, amagcisa alo myalelo ahlala esebenzisa ukufota njengesiseko somsebenzi wabo, nto leyo enzima ukuzimisela kombhali womzobo owenziwe kulo mgca.
I-Hyperrealism njengesalathiso esichasayo kwi-conceptualism, njengefom kunye nomxholo (okuthi, ngendlela, kubunye kubugcisa be-realist orientation). Ugqithiso lomatshini olugxininisiweyo lobudlelwane kunye nokuthungwa okubonakalayo kwiliso lenyama kudityaniswa ngokukodwa kwezicwangciso: izithixo zenkcubeko ye-pop, i-frezen efana ne-mannequins, amanani kunye nobuso babalinganiswa bunikezelwa ngokunikezelwa ngononophelo kunye nokufikelela kwimo ye-kitsch. indibaniselwano yengcamango yangaphakathi kunye nokungabikho kwengqondo kunye nenkangeleko yangaphandle yobuhle borhwebo).
Uphawu oluphawulekayo lobugcisa be-hyperrealistic ukungabikho kweemvakalelo zombhali kunye nokubonakaliswa kwesitayela sobugcisa kunye nendlela yokudweba. Ngale njongo, amagcisa asebenzisa i-airbrush, i-glaze, kunye nezinye iindlela zokugudisa umphezulu.
Historia
EUnited States ngeminyaka yoo-1960, ngakumbi eCarlifonia naseNew York, kwavela umkhombandlela wesitayile kubugcisa bale mihla obuchasa imigaqo yobugcisa obungafunekiyo, ubugcisa obungekho sikweni, kunye ne-tachyism enenyani entsha yokomfuziselo. Yayisekwe phezu kokuchaneka kokumelwa kwefoto yokwenyani, ngaphandle kweemvakalelo ezizimeleyo, eziboniswa ngokuchanekileyo kwezonyango ukuya kweyona nkcukacha incinci, ngaloo ndlela ibonisa eyona njongo ibanda kakhulu, kuvela i-hyperrealism.
Imbali ye-hyperrealism, kunye ne-photorealism ehambelana nayo, incinci ngaphezu kwesiqingatha sekhulu leminyaka ubudala, ukususela ekupheleni kweminyaka ye-1960. Izitayela ezitsha zavela ubukhulu becala ngenxa yokuphucula okubalulekileyo kwizakhono zobugcisa bezixhobo zezithombe ngaloo mihla. iminyaka. . Iikhamera ezinesisombululo esiphezulu zivele kwiimarike, ezazilungele ukudala imifanekiso ephezulu. Oku kwaba yimpembelelo yokuyilwa kwemizobo esuka kwiifoto kusetyenziswa ubuchule bobugcisa kunye nezixhobo.
I-Hyperrealism ligama elisetyenziselwa ukubhekisela kwisimbo samagcisa avelisa imizobo okanye imifanekiso eqingqiweyo efana nefoto enesigqibo esiphezulu. I-Hyperrealism ithathwa njengesebe le-photorealism, ngenxa yeendlela ezifanayo ezisetyenziselwa ukudala imizobo ye-hyperrealistic okanye imifanekiso eqingqiweyo. Eli gama lisetyenziswa ikakhulu kwintshukumo yobugcisa ezimeleyo kunye nesimbo esiphuhliswe ukusukela kwiminyaka yoo-2000s eUnited States naseYurophu.
Igama lesiFrentshi elithi hyperréalism livela kumthengisi wezobugcisa waseBelgium u-Isy Brachot, owasebenzisa njengesihloko somboniso omkhulu kwigalari yakhe yaseBrussels ngo-1973. Lo mboniso wawukhokelwa yi-photorealists yaseMelika njengoRalph Goings, uDon Eddy, uChuck Close noRichard McLean. , kodwa kwakukho namanye amagcisa abalulekileyo aseYurophu afana noGnoli, uKlapheck, uRichter noDelcol. Ukususela ngoko, igama elithi hyperrealism lisetyenziswe ngabaculi kunye nabathengisi ukubhekisela kubapeyinti abachatshazelwa yi-photorealists.
Iinzame zokwenza i-protagonists ibe yinyani ngokusemandleni inokubonwa kumaxesha amandulo. Ugxininiso olugqithisileyo kwinyani kuthetha ukuba imisebenzi eyenziwe ngolu hlobo ibonakala ngathi iyingozi. Kwinkalo yoyilo lweplastiki, iinzame zenziwa kumakhulukhulu eminyaka eyadlulayo ukwenza imifanekiso eyoyikisayo yoothixo, ebonakala ngathi ifana nobomi ngokukhethwa kwezinto eziphathekayo kunye nokupeyinta okwenyani. Le ngcamango yendalo yobugcisa yathatyathwa kwakhona ekupheleni kwenkulungwane ye-XNUMX.
Omnye wabadali abaphumelele kakhulu bolu hlobo nguWilhelm von Rumann, owabangela isiphithiphithi esikhethekileyo ngomfanekiso wakhe we "Roman water carrier". URumann, owazalelwa eHannover ngo-1850, wasweleka eCorsica ngo-1906, wayengunyana wesikolo saseMunich. Umkroli wenza imifanekiso eqingqiweyo ngodongwe nakwi-terracotta, kodwa nakwibronze enemibala awayenza yabonakala yokwenene ngokupeyinta okucacileyo. Ukuhlaziywa ngokutsha kwesi simbo sobugcisa kwenzeka eMelika ekupheleni kweminyaka yoo-XNUMX.
Amagcisa anjengoMalcolm Morley, uDuane Hanson, noJohn de Andrea benza amanani asuka kwiwax kunye nezinto ezifanayo abathe baziyila ngokuchanekileyo kangangokuba banokuphazama ngabantu abaphilayo. Ngokomzekelo, imifanekiso esengqiqweni yabantu abangenamakhaya yavelisa imiphumo emangalisayo. Iindwendwe kwimiboniso yegcisa zazityhwatyhwa yinyani maxa wambi eyoyikisayo. Ngo-1969, uNancy Graves wabonisa iinkamela ezintathu ezinobungakanani bobomi kwiMyuziyam yaseWhitney, enikezelwe ngokwenyani kangangokuba banokuphazama njengento yokwenyani.
Imisebenzi ye-hyperrealists ivuse umdla omkhulu phakathi kwabagxeki kunye noluntu, kodwa kwiminyaka eyi-10 eyalandelayo, inzondelelo enkulu yobugcisa be-ultramodern yadlula ngokuthe ngcembe. Umdla wesibini womdla kwi-hyperrealism waphenjelelwa kukufika kokufota okufumanekayo kwedijithali ekuqaleni kwenkulungwane yama-XNUMX. Xa kuthelekiswa nobuchwepheshe be-analog, isisombululo semifanekiso emileyo siphuculwe kakhulu.
Abazobi ekugqibeleni banethuba elihle lokuthatha iifoto ezikumgangatho ophezulu kwaye bazisebenzise njengesiseko semizobo kunye nemizobo yabo. I-Hyperrealism yinxalenye ebalulekileyo yobugcisa obubonakalayo bexesha langoku. Imiboniso yemisebenzi yamagcisa ale ndlela ihlala itsala izihlwele ezikhulu zababukeli, kwaye eyona misebenzi ibalaseleyo ithengwa ngovuyo ngabaxhasi abavela kumazwe ahlukeneyo.
I-Photorealism kunye ne-Hyperrealism
Uyingcali ukuba unako ukuhlukanisa i-Photorealism kunye ne-Hyperrealism. Imizobo yeefotorealists ifana neefoto ezikumgangatho ophezulu wobugcisa. Imizobo ye-hyper-realistic iyamangalisa ngakumbi. Isifundo esibalaseleyo kwi-photorealism yi-landscape okanye i-portrait, ngelixa i-hyperrealism igxile ngokukodwa kwiinkcukacha.
Ngoko xa i-photorealist inikezela ipaki ngokupheleleyo, i-hyperrealist iya kufihla ibhentshi emthunzini ngokugxininisa imitha yokukhanya kwelanga. Ukuba i-photorealist ipende i-portrait ngokubanzi, i-hyperrealist iya kugxininisa into ethile yobuso. I-Hyperrealism ekuqaleni yayisondele kubugcisa be-pop, kodwa kamva yaba ngumbutho ozimeleyo owaphembelela amagcisa amaninzi aseYurophu.
I-Photorealism sesinye isahluko esitsha kwimbali yokudweba eyongezwe kwinyani. Ngokwayo, ukusetyenziswa kwemifanekiso kwimizobo akuyonto intsha, yayisele yenziwe ngekhulu le-XNUMX. Kodwa ukulandela ifoto ngokusondeleyo kuthetha inyathelo elitsha. Kuyamangalisa ukubona indlela isitayile kunye nembonakalo enokwahluka ngayo kakhulu nangona onke la magcisa esebenza kwiifoto.
I-Hyperrealism, ngokungafaniyo ne-photorealism esondeleyo emoyeni, inecandelo elibonakalayo elibonakalayo ngokweemvakalelo. Ukusebenza kumzobo, umzobo okanye umzobo, umbhali udala inkohliso yobugcisa obuyinyani bento enokuthungwa okungenasiphako, umdlalo wesithunzi kunye neziphumo zokukhanya. Esi simbo sichasene nengqiqo, apho ingcamango yombhali ithathwa njengebaluleke kakhulu kunendlela yokubonakalisa ubugcisa.
I-Photorealism ngumseki weendlela ze-postmodernism kwinkcubeko yanamhlanje. Ndiyabulela ekubuyiseleni umzekeliso (umfanekiso wezinto ezithile), iindlela ziye zavela kubugcisa bexesha elinje: isenzo, i-anachronism, i-underground, ubugcisa bevidiyo, i-graffiti kunye nabanye.
I-Photorealism ihlala iqala ngeefoto kwaye i-hyperrealism ayifuni. Ubomi obunenyani kakhulu obusebubo bunokuba yi-hyper-realistic ukuba ibekwe nje estudio yapeyintwa. Ukuba kukho umzobo oyinyaniso kakhulu (ngeenwele kunye nepeyinti yonke) kunengqiqo ngakumbi ukuba kubizwa ngokuba yi-hyperrealism kune-photorealism, kuba umfanekiso osicaba usondele kakhulu kwisithombe kunomfanekiso we-three-dimensional. Ngoko i-photorealism ngokwenene i-photorealism, kodwa i-hyperrealism ayifuni ukuba yi-photorealism.
IiMasters ezidumileyo zeHyperrealism
Phakathi kwabameli ababalaseleyo bolu hlobo, kukho abantu abaninzi abanomdla wokudala abahlala kwiindawo ezahlukeneyo zehlabathi. Ezinye zeenkosi ezidumileyo ze-hyperrealism ziquka:
ron mueck ngoyena mkroli wangoku we-hyper-realistic udumileyo eOstreliya. Yenza ngokulula zombini iingoma ezincinci kunye nemisebenzi emikhulu yesikhumbuzo yobugcisa.
UGottfried Helnwein ligcisa lase-Ireland lemvelaphi yase-Austrian eliye lafumana ukuqatshelwa kwihlabathi liphela ngesikhundla sakhe esisebenzayo sentlalo kunye nokuziqhelanisa nentlalontle yomsebenzi wakhe. Kumsebenzi wakhe, uHelnwein uhlala ebhekisa kumbandela wokuBulawa Kwabantu Ngenkohlakalo.
UBernard Torrens yipeyinti yaseSpain eyaziwayo ngemifanekiso yayo emihle yamadoda nabafazi bebodwa kwindawo abahlala kuyo. Eyona nto ifanelekileyo kwigcisa kwaye iya kuhlala ingumntu wakhe omkhulu u-Diego Velázquez
UJason deGraaf Xa ubona umsebenzi wakhe okokuqala, uya kukufumanisa kunzima ukukholelwa ukuba ukupeyinta. Ihlabathi lakhe elinobunyani obunenyani yimibono eyilwe ngocoselelo eyenziwe ngeebrashi ezithambileyo ukunika imbonakalo yeefoto ezinesigqibo esiphezulu.
UMarco Grassi Omnye umbhali kwisitayela se-hyperrealism, imisebenzi yakhe ephawulekayo kwinyani yabo kwaye ibangela ukuba abaninzi bajonge ngakumbi, ngumculi waseNtaliyane waseMilan. Imizobo yakhe ineenkcukacha kangangokuba inomgangatho weefoto ngokwenene.
Emanuweli Dascanius Ungomnye wawona magcisa abalaseleyo anamhlanje, uyinkosi yokwenyani yesitayile se-hyper-realistic, imisebenzi yakhe igqamayo kubuntu babo kunye nenyani.
Nanga amanye amakhonkco omdla: