Photorealism, often referred to as Superrealism or Hyperrealism, describes a movement of painters whose work was characterized by precise detail, advanced technical skill, and a deceptive quality of image. Using processes such as airbrushing, projected photographs and gridded canvases, Photorealist painters often depicted objects, landscapes and portraits with reflective surfaces, adding to the three dimensional nature of their compositions. Heavily reliant on photography, the beginnings of Photorealism can be traced to mid-1960s New York, following in the footsteps of Abstract Expressionism and Minimalism. By the time the style picked up in the 1970s, many established artists were working in this photo-based movement, including Chuck Close, Don Eddy, Richard Estes, Ralph Goings, Robert Bechtle, Audrey Flack, Denis Peterson, and Malcolm Morley. 

Brooklyn-born art dealer Louis K. Meisel coined the term “Photorealism” in 1969, and in 1972 published a formal declaration of Photorealist principles, which included tenants such as, “the photorealist uses the camera and photograph to gather information,” “The photorealist uses a mechanical or semi-mechanical means to transfer the information to the canvas,” and “the photorealist must have the technical ability to make the finished work appear photographic.” While Meisel’s principles were not universally accepted, they did lend some structure to the movement. As the style continued to develop, Photorealism was incorporated in contemporary art in various manifestations, with painters like Richard Prince and Kehinde Wiley using the hyperrealist technique to explore themes of decadence, racism and modern culture.