~ Hyperrealism ~

Miraculously are real the horses painted by Suzana Stojanović. Miraculously is not for the fact that, in the paintings painted in realistic and hyperrealistic style one can easily notice the third dimension, but for the warmth that springs out from every painting, from the eyes of those noble four-legged animals. The grandeur in their eyes is the focus of everything. Her skills to mark even the most hidden details, leads the observers into dilemma whether there is a painting or maybe photography. Suzana’s preoccupations are horses: beautiful, natural and intelligent. Even as a child she had a desire to have her own horses, but all this remained only an imagination and a dream that did not come true. This is the reason now why she makes them alive in the paintings that show how big is her love for them. Suzana expresses herself through realism and hyperrealism because she thinks that it is the only way to make alive the subject of painter interest on the cardboard or painting on canvas.
Suzana Stojanović stopped the scenes of her hyperrealistic way of painting in the right moment: at the moment that allows us to see pride, strength, beauty, mildness, defiance and prudence. The world of horses is heavenly part of the mankind. God was merciful and gifted us with this kind of beauty. They inspire artists with its strength, endurance, generosity and grace. Suzana’s paintings, made in the style of hyperrealism, represent the inviolable bridges that connect people and horses for centuries. With her exhibitions she gifted her public one wonderful world of nature and beauty that was forgotten a little, and that was presented in different techniques: pencil drawing, pastel and oil on canvas. Her exhibitions have been visited by thousands of people. The book of impressions is full of strong expressions. All of them are amazed and simply stoned when standing before her wonderful works.
With her new series of paintings, Suzana has attracted great attention of the audience. The rich colors, sumptuous landscapes and mystical portraits provoke great interest. Mysterious views in the embrace of nature take us into a world of subtle senses, feelings and memories. Hyperrealistic presented in detail floral nature has a symbolic purpose. Poetic figures and interesting portraits are placed within the picturesque landscapes. Brush writes stories about different destinies, moods and characters, imbued with historical and mythological themes. In these gardens man re-introduces himself and nature. Relieved of the weight of modern life, in the bright vastness of the landscape, he nostalgically talks about the past. On her timeless paintings Suzana reveals the secrets of unusual personalities, showing the fate of different people, the beauty and diversity of nature. She takes us into the long forgotten world that restores confidence in life and art.
By way of introduction, we were recently graced with the new arrival of a well-known and accomplished artist, Suzana Stojanović.
Suzana is someone I have known outside these pages as a friend and as a truly masterful hyperrealist painter. Her beautiful work can at times be extreme, and it is always compelling.
I recommend that you take the time to get to know her and her captivating work, as she has much to share with all of us.
Suzana is someone I got to know about a year ago and at that time I was drawn into her stunning work. Not unlike some masters you and I have discussed, Suzana’s paintings just keep on bringing you back for more, not only on the basis of technical merit; they demonstrate a driving and robust visual declaration of her love for her subjects. It is at once a celebration of those living subjects that comes through all of her work with consistent brilliance and passion.
Her sensitive and compelling work is an admirable reflection of her as a person.
From my perspective, Suzana’s work is as good as it gets.
And you will notice that her work, all of it, shares a common thread of humanity, passion and dignity, the veritable mark of a true artist.
She is outstanding, not only in her brilliant ability to render but her compositional and lighting techniques drive the point home that she cares deeply about her subjects.
Denis Peterson, hyperrealist painter, dA Journal
Attributive “realistic” is a word linking the artists and writers longing to build new connection between work of art and reality. In the middle of 19th century three directions of realism appeared: landscape realism (school of Barbizon in France), socialistic and academic realism. Painters are going back to folk themes, separated from painting scene for the long time. Courbet painting “The Stone Breakers” marks the beginning of realism. The work of Gustave Courbet lies upon one strict respect of world reality that surrounds the artists. The master of realism declares himself that he wants to represent “real and existing things”. Complete obedience to “realistic” frequently is used in the case of certain artists like Rosa Bonheur, Jules Breton, Jules Bastien-Lepage, Leon Lhermitte, Hungarian Mihaly Munkacsi is used in photographic way. In the second half of 19th century the whole one part of western arts lives in realism; German painters: Adolf von Menzel, Wilhelm Leibl; Belgium: Constantin Meunier (sculptor and painter); American: Winslow Homer, Thomas Eakins; in England: Ford Madox Brown; in Russia: Ilya Repin and Vasily Perov. Realism is present and keeps on in 20th century. Photographic precise hyperrealism (photorealism) appears in USA in the end of the '60s that was announced by Edward Hopper and Charles Sheeler. Hyperrealism (photorealism) continues with realistic tradition of Edward Hopper and other 20th century American painters. The most famous representatives of this stream in plastic arts, characterized by almost photographic interpretation of the seen matter are: Malcolm Morley with his huge postcards, Richard Estes with urban shop-windows, Robert Cottingham with light boards, Don Eddy and Ralph Goings with cars, Chuck Close with exquisite magnified photos with personal id regulations.