Marco Grassi Paints Hyper-Real Portraits Of Women With A Twist

Marco Grassi - Oil PaintMarco Grassi - Oil Paint

Marco Grassi - Oil Paint

Marco Grassi - Oil Paint

The works of artist Marco Grassi are so realistic, they appear to be photographs of women. However, his work is not your traditional portraits. If you look again, these portraits have an offbeat element, creating surreal characteristics that cannot possibly exist in real life. Because Grassi’s incredible skill in painting allows him to create such hyper-real images, the out of place component in each painting is our only clue to these being oil paintings and not photography. The artist impeccably renders such a variety of texture; until we believe we can feel the glossy, sleek glass and the soft fabric the women are wearing in Grassi’s work. Even close up, you can see the details of each wrinkle, pore and eyelash of every woman he paints, intensifying the illusion of reality.

The twist is, the women in Grassi’s paintings are not normal, they have a hand covered in intricate patterns or a blue tree stretching across their upper torso, both like glowing tattoos on their bodies. One woman even has a design carved into the skin on her back, revealing not blood and bones, but hollow darkness. However strange these unexpected details may be, the women in these portraits remain just as beautiful and realistic as ever. Despite the unusual, serial quality Grassi’s paintings have, they still appear believable. We are left in awe believing in these striking, mysterious women, not knowing why they look as they do. (via Hi-Fructose)

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Cesar Santander’s Hyper-realistic paintings of vintage tin toys

Cesar Santander’s hyper-realist paintings of vintage toys, trinkets, and carousels are gleaming and shining works that will make you take a double take to make sure you’re not looking at a photograph. Dealing with themes of Nostalgia these exquisitely painted images transport us to a simpler time when toys didn’t talk back and were simple images of our favorite cartoons.

“Once I conceive an idea for a painting, I arrange the objects and then use the camera to produce the strongest photographic example of my original idea. Then I paint the photographic image. Superficially, I appear to copy the photograph, but I make many adjustments to the photographic image as I complete the painting. I try to impose my own vision by subtle adjustment of colors, edges and details so that the finished painting is the strongest representation of the original idea.”

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