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  Gianni L. Cilfone “After the Rain” Oil on canvas 1928

  GIANNI L. CILFONE (1908-1990) USA

  “After the Rain” 1928

  Oil on canvas, contemporary quarter sawn oak pegged frame with yellow gold filet.

  Signed: Cilfone, 1928 (lower left corner)

  Marks: Illinois Academy of Fine Arts, Second Annual Exhibition 1928, Gianni L. Clifone, 905 South Ashland Boulevard, “After the Rain,” $500 (paper label).

  Exhibited: Illinois Academy of Fine Arts, Second Annual Exhibition 1928, Art Institute of Chicago 1928

  For more information see: Who Was Who in American Art (Madison, Conn.: Sound View Press, 1985) p. 115.

  Canvas: H: 30” x W: 40”

  Framed: H: 38” x W: 48”

  Gianni Cilfone emigrated with his family from San Marco, Italy to Chicago at the age of five. After studying at the Art Institute of Chicago, Cilfone took lessons from Hugh Breckenridge and John F. Carlson. His consistently won many prizes from the Chicago Gallery Association throughout the 1930s and 40s. He exhibited at the Hoosier Salon between 1949 and 1958, at the North Shore Arts Association, at the Association of Chicago Painters and Sculptors, and at the Art Institute of Chicago in 1919 and 1928.

   

   

   

   

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  Jeffrey Hartman “Motobecane” Oil on canvas 1978

  JEFFREY HARTMAN USA

  “Motobecane” 1978

  Oil on canvas

  Signed: “Jeffrey Hartman ‘78”, “© 78 HARTMAN” (on the back)

  Framed H: 26 1/2” x W: 18 1/2”

  Price: $18,000

  Belgian art dealer Isy Brachot coined the French word Hyperréalisme, meaning Hyperrealism, as the title of a major exhibition and catalogue at his gallery in Brussels in 1973. The exhibition was dominated by such American Photorealists as Ralph Goings, Chuck Close, Don Eddy, Robert Bechtle and Richard McLean; but it included such influential European artists as Gnoli, Richter, Klapheck and Delcol. Since then, Hyperealisme has been used by European artists and dealers to apply to painters influenced by the Photorealists. However, Hyperrealism is contrasted with the literal approach found in traditional photorealist paintings of the late 20th century. Hyperrealist painters and sculptors use photographic images as a reference source from which to create a more definitive and detailed rendering, one that often, unlike Photorealism, is narrative and emotive in its depictions. Strict Photorealist painters tended to imitate photographic images, omitting or abstracting certain finite detail to maintain a consistent over-all pictorial design. They often omitted human emotion, political value, and narrative elements. Since it evolved from Pop Art, the photorealistic style of painting was uniquely tight, precise, and sharply mechanical with an emphasis on mundane, everyday imagery. Hyperrealism, although photographic in essence, often entails a softer, much more complex focus on the subject depicted, presenting it as a living, tangible object. These objects and scenes in Hyperrealism paintings and sculptures are meticulously detailed to create the illusion of a reality not seen in the original photo. That is not to say they’re surreal, as the illusion is a convincing depiction of (simulated) reality. Textures, surfaces, lighting effects, and shadows appear clearer and more distinct than the reference photo or even the actual subject itself.