ABSTRACT
A critical evaluation of Hyperrealism is hindered by the fact that together with the idealized verisimilitude of the image of reality, classified as stylized contemporary realism, there are other authentically realistic elements that are actively introduced into the structure of the image. Hyperrealism was born in the art of the United States of America, and the first manifestation of the new movement can be considered the exhibition held in the spring of 1970 in the Whitney Museum entitled 22 Realists. Hyperrealism was a conscious reaction to Pop art, perhaps the most influential and authoritative movement in the structure of the neo-avant-garde of the 1960s. Hyperrealism rejected the cult of total optimism of urban capitalist culture and aspired to something else. It displays the iconography of the social life of contemporary society. Hyperrealism in England and Italy has not yet attained any autonomous features. At times, the Hyperrealist turns towards contemporary social reality but treats it polemically and critically.
