In this manner, Ms. Quentel combines aspects of Process Art with those of Photo Realism.

His paintings, which fine-tuned Photo Realism to a celluloid-thin elegance, featured panoramic displays of might and light, the essence of film.

At its best, Photo Realism, the movement that most brazenly embraced photography, proves it needn't be an either-or proposition.

He has based paintings on nothing more than color charts, creating an abstract version of Photo Realism, in fact.

For many years, he concentrated on Photo Realism.

Yet Mr. Cotton's paintings, despite their seductive play of color and light, don't go much beyond early 1970's Photo Realism.

The large paintings in this New York debut espouse an unlikely combination of Photo Realism, Process Art and political critique.

Malcolm Morley has the rare distinction of having fathered not one but two movements in contemporary painting: Photo Realism and Neo-Expressionism.

Gold-standard artists like Pollock are joined by less successful contemporaries, and Photo Realism, a movement until recently out of favor, is reconsidered.

A love of reflection aligns the artist in a way with "Photo Realism" in which reflection is often a tour de force.