produced culture. He emphasized the mass-consumer society in which everyone uses the same products. Through this, he may be considered a modern history painter. 7 Subsidiary artists: Larry Rivers, Jasper Johns, Claes Oldenburg, James Rosenquist, Tom Wesselmann, Robert Indiana. Super-Realism. It has also been called Photorealism and Hyperrealism, and draws on photographic sources and commercial advertising for imagery but makes trompe-l'oeil illusion viable again without the fantastic invention or satirical commentary of Pop Art. These artists also considered the work of earlier American art and even C17 Dutch still-life and genre painting. Exemplary artists. Chuck Close (late-C20). He did enlargements of snapshot photographs, often painted painstakingly with acrylic
produced culture. He emphasized the mass-consumer society in which everyone uses the same products. Through this, he may be considered a modern history painter. 7 Subsidiary artists: Larry Rivers, Jasper Johns, Claes Oldenburg, James Rosenquist, Tom Wesselmann, Robert Indiana. Super-Realism. It has also been called Photorealism and Hyperrealism, and draws on photographic sources and commercial advertising for imagery but makes trompe-l'oeil illusion viable again without the fantastic invention or satirical commentary of Pop Art. These artists also considered the work of earlier American art and even C17 Dutch still-life and genre painting. Exemplary artists. Chuck Close (late-C20). He did enlargements of snapshot photographs, often painted painstakingly with acrylic
Finno-Ugric Congress played an essential role in establishing literary contacts. The Chairman of the board of the Estonian Artists’ Union, Ilmar Torn (1921- 1999) stated, that Estonian art has become a considerable phenomenon not only in the USSR but it was a worthy representative of Soviet art abroad. The younger generation of artists matured surprisingly quickly and had obtained a leading position. 2 The young Estonian avant-garde introduced minimalism and collage, photorealism and geometric art. According to their paradigm, artists were ideologists, designers and creators of the 1 Eestlane ja tema kultuur (The Estonian and His Culture) (Tallinn: Perioodika, 1976) pp. 31, 33. 2 Ilmar Torn. Eesti kunsti palgejooni. Sirp ja Vasar 28 Jan. 1977. new human type in the era of machinery. At the same time, the human being as an individual was disappearing from the modern canvases. A group of young artists – Ando Keskküla (1950-2008), Leonhard Lapin (b
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