Brian... yes, I've actually seen a couple of paintings by her before. I especially remember the portrait below. While I'm awed by the skill, I still lean away from most examples of photorealism. I prefer a degree of artifice. I like to see the artist's hand in the mark-making, the artificial or expressive use of colors, the line, etc...
You will know I'm on the same wavelength here: it's the kind of work I am in awe of without actually
liking it all that much. You know my liking for sloppy brush strokes.
It depends to some extent on the subject matter; with some subjects I like lots of detail more than with others. Some artists find a nice balance. I have long been a fan of the work of Dutch artist Joke Frima. She turns the most mundane of scenes into great art:
Joke Frima - After the Spectacle, oil painting, 2018, size unknown.
Joke Frima - One Tomato On The Plant oil on panel 15 x 12 cm
Joke Frima (b1952) - Algarrobbo Oil on panel 43 x 33cm
Looks almost photographic at first glance, but zoom in and you see lots and lots of brushwork:
Being unable to travel much, I have long loved the idea of finding your subject matter wherever you are - there is beauty all round, and we just have to look. But painting it in satisfactory manner is another story.
I am struck by just how small many of her paintings are. See the tomato above, for example (about 6 x 5 inches, for those who don't like metric). How on earth does one make brush strokes that small with a medium as sticky as oil, I wonder!
And then there is the "large-piece-of-turf" effect, which I name after the eponymous painting by Durer.
Albrecht Dürer - The Large Piece of Turf, 1503, watercolor and body color, 40 x 31 cm.
And here is Joke Frima with something similar:
Joke Frima - Wilde Hyacinten, 2007, oil on linen, 50 x 70 cm
Beautiful, but absolutely terrifying - even after decades of practice, I could not begin to draw or paint this sort of thing: lots of semi-repetitive detail confuses me wholly and completely. I almost immediately lose track of where in the complex scene I am, which blade of grass I am working on, and then any attempt at creating a recognizable likeness goes away.