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Some art historians believe that fresco artists from Crete may have been sent to various locations as part of a trade exchange, a possibility which raises to the fore the importance of this art form within the society of the times. The most common form of fresco was Egyptian wall paintings in tombs, usually using the a secco technique ...
Illusionistic ceiling painting, which includes the techniques of perspective di sotto in sù and quadratura, is the tradition in Renaissance, Baroque and Rococo art in which trompe-l'œil, perspective tools such as foreshortening, and other spatial effects are used to create the illusion of three-dimensional space on an otherwise two ...
The ceiling is intended to look as if a framed painting has been placed overhead; there is no illusionistic foreshortening, figures appearing as if they were to be viewed at normal eye level. Mengs' Parnassus (1761) in the Villa Albani (now Villa Albani-Torlonia) is a famous example — a Neoclassical criticism against Baroque illusionism.
Poussin and de La Tour adopted a "classical" Baroque style with less focus on emotion and greater attention to the line of the figures in the painting than to colour. Peter Paul Rubens was the most important painter of the Flemish Baroque style. Rubens' highly charged compositions reference erudite aspects of classical and Christian history.
Andrea Pozzo's painted ceiling in the Church of St. Ignazio. His masterpiece, the illusory perspectives in frescoes of the dome, [3] the apse and the ceiling of Rome's Jesuit church of Sant'Ignazio were painted between 1685–1694 and are emblematic of the dramatic conceits of High Roman Baroque. Pozzo was an unrivalled master of perspective ...
Rococo, less commonly Roccoco (/ r ə ˈ k oʊ k oʊ / rə-KOH-koh, US also / ˌ r oʊ k ə ˈ k oʊ / ROH-kə-KOH; French: or ⓘ), also known as Late Baroque, is an exceptionally ornamental and dramatic style of architecture, art and decoration which combines asymmetry, scrolling curves, gilding, white and pastel colours, sculpted moulding, and trompe-l'œil frescoes to create surprise and ...
As opposed to Renaissance art, which usually showed the moment before an event took place, Baroque artists chose the most dramatic point, the moment when the action was occurring: Michelangelo, working in the High Renaissance, shows his David composed and still before he battles Goliath; Bernini's Baroque David is caught in the act of hurling ...
The depth achieved in the fresco extends past the physical ceiling, drawing the blessed upward into the infinite sky. Gaulli adds a pronounced, stucco, frame around his fresco; emphasizing the illusionistic division of the vault's interior and exterior space. [ 9 ]