Mario Jung (Myung Jung) was born in Seoul, South Korea, on September 14, 1949. His life took a dramatic turn after surviving a catastrophic accident that left him temporarily paralyzed, blind, and deaf. Against all odds, Jung recovered completely, inspiring those around him with his relentless determination. Through a remarkable, spiritually guided recovery, Mario Jung reclaimed his passion for art and went on to gain international fame for his vibrant, highly textured impasto landscapes.
He developed a versatile artistic style that captures the imagination: richly colored landscapes filled with texture and warmth, often requiring up to 12 tubes of oil paint. His bold brushstrokes, bursting with fields of color and thick layers of paint, transport viewers to sunsets over poppies or invite them to rest under evocative trees. His realistic, nuanced paintings (nu realism) evoke tranquility with sunflowers and lavender fields dancing alongside beautifully sculpted vineyards.
Mario’s extraordinary talent and diverse portfolio have fueled his rising popularity worldwide. His artwork resonates across continents. He has been collected in over 20 U.S. states, South Korea, Germany, and Spain, solidifying his reputation as a rising international artist.
Beyond his art, Mario dedicates his free time to volunteering with the Salvation Army, embodying his inspiring perseverance.
Artist Mario Jung in his studio.
Let's Talk Technique:
What is oil impasto? The term impasto describes thickly applied paint that stands out from the surface, creating a tangible texture. First popularized in the 17th century by masters like Rembrandt and Frans Hals, impasto reached new heights in the 19th century with Vincent van Gogh, whose thickly layered strokes defined his signature style. Artists such as Mario Jung continue to explore this dynamic technique, emphasizing the physicality of paint in their compositions.
What makes Mario's work truly unique? Texture. His paintings feature thick, bold oil applications that leap off the canvas, particularly in the foreground. This textured brilliance draws viewers' attention and adds depth. The trees in his landscapes serve as focal points. They are brightly colored and textured in impasto, which naturally draws the eye again and again, creating compelling, memorable compositions.
Mario Jung is proudly represented by Modern Masters Fine Art in Charleston, SC.
An original painting by Mario Jung, recently sold.
I want to preface this article by stating that I did not study fine art or art history in college. My knowledge of art has been shaped by experience: growing up in art galleries with my paternal grandmother and later working in sales and marketing at fine art galleries in Charleston. One vivid memory always stands out to me. I remember trailing behind my grandmother as she wandered from painting to painting, pausing in front of a massive canvas awash in color. She lowered her voice, as if letting me in on a secret, and asked me what I saw, what I felt. It was in those quiet moments, surrounded by brushstrokes and hushed conversation, that I first realized art was as much about emotion and interpretation as it was about technique. It sparked my curiosity, and that feeling has followed me ever since. I have learned a great deal so far, but, as you may know, understanding art is a continuous journey for most, and there is always something new or different to draw from. When you have something as subjective as art, it can be difficult to fit any one work into a specific genre or style, if you will. Artists and sculptors, I’m sure you will agree, are diverse, complicated, and immensely creative individuals. They cannot fit into a box, so why would you classify their work in such confines? I say this because that is exactly what I tried to do, and the experience led me to write this article.
Before I dive into the story, I think it helps to quickly define what we mean by photorealism and hyperrealism. Photorealism is a style of art where the artist aims to create a painting or drawing that looks as identical to a photograph as possible, replicating every detail, color, and shadow as the camera would capture them. Hyperrealism, although closely related, takes this a step further by enhancing or exaggerating reality, often resulting in an image that is even more precise and vivid than a standard photograph, sometimes amplifying light, color, or detail for dramatic effect.
Long story short, I got into a lively discussion with the gallery owner, Chase Barrett, over which of our artists are photorealists and which are hyperrealists. According to my initial understanding, photorealism is the exact, undeviating capture of a photograph on canvas. Surely, I thought, Jesus Navarro must be a photorealist! His work is so incredibly detailed and full of light, and the gallery's clients cannot believe his oil paintings aren’t photos! But according to Chase and several articles online, Jesus Navarro is, in fact, a hyperrealist, not a photorealist. My defenses went up, and I argued my point, but as more and more examples came through, I realized that art is so complex and that my understanding only scratches the surface.
Both photorealism and hyperrealism emerged around the same time in the 1970s in New York, but each has distinct traits. Photorealism developed in response to photographs, and photorealists aimed to emphasize the flatness of photographs and a minimalist approach. Hyperrealism, by contrast, pushes reality to extremes. Its colors are highly saturated, and its lighting feels almost too clean and luminous. The artist creates an enhanced version of reality rather than simply copying a photo.
If you want an easy way to tell the difference between the two styles when you're looking at art, here are some quick tips: Photorealistic paintings often have softer color transitions, muted tones, and depict scenes exactly as a camera would capture them, including imperfections and subtle details. Hyperrealistic works, on the other hand, usually feature exaggerated colors, extremely sharp details, and sometimes lighting or reflections that are almost impossibly clear or dramatic. If you notice heightened contrasts, brilliant or surreal colors, or reflections that seem too perfect to exist in reality, you are likely looking at hyperrealism.
You can see this in Jesus Navarro’s “Coney Island, NY” painting. At first glance, I erroneously identified this painting as photorealism because of its photo-like qualities. But after a closer inspection, I see that the colors have intense pigmentation, and the reflections are extreme, almost idealized. The same goes for his painting “Renaissance”. The rose's petals are hyperrealistic and colorized, while each leaf vein is so lifelike it looks Photoshopped. The artist's reflection in the vase is the final giveaway that this is a hyperrealistic painting. The clarity and reflection in the vase are far beyond what is possible.
In conclusion, I have learned a lot today and expect to continue learning. The art world is so vast and full of possibilities. As you explore different works of art at Modern Masters Fine Art, I encourage you to take a closer look and ask yourself what you see or feel. Can you pick out the differences between photorealism and hyperrealism, or are you discovering a piece that is challenging your understanding? If I’m in the gallery with you, I’d love to hear about your own experiences and observations about art styles. Sharing these reflections makes the journey through art even more engaging and memorable. Take a look at our very own examples of Photorealism and Hyperrealism below, and come visit the gallery sometime soon.