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The painting is commonly considered a masterpiece of trompe-l'œil painting [2] for its deceptively sculptural representation of the back of a framed painting in a canvas. The work has already been called as "the most radical meditation about painting as an object and as an image", [3] and is interpreted as an early example of conceptual art. [4]
Abstract art uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. [1] Abstract art, non-figurative art, non-objective art, and non-representational art are all closely related terms. They have similar, but perhaps not identical, meanings.
The painting depicts an apathetic Parisian demi mondaine having a bath. Above the tub there are, fixed to the wall, a swan-shaped tap and a white fixture in the shape of a shell. Instead of holding a bath brush, the model holds two white roses in her right hand, which crosses her body and leans against the tub's side.
Ceiling of the Treasure Room of the Archaeological Museum of Ferrara, Italy, painted in 1503–1506. Trompe-l'œil (French for 'deceive the eye'; / t r ɒ m p ˈ l ɔɪ / tromp-LOY; French: [tʁɔ̃p lœj] ⓘ) is an artistic term for the highly realistic optical illusion of three-dimensional space and objects on a two-dimensional surface.
Geometric abstraction is present among many cultures throughout history both as decorative motifs and as art pieces themselves. Islamic art, in its prohibition of depicting religious figures, is a prime example of this geometric pattern-based art, which existed centuries before the movement in Europe and in many ways influenced this Western school.
Painting with Three Spots: Thyssen-Bornemisza Museum, Madrid 121 x 111 1914 Painting with a Red Stain: Musée National d'Art Moderne, Paris 130 x 130 1914 Painting on Light Ground: Musée National d'Art Moderne, Paris 100 x 78 1914 Untitled Improvisation I: Lenbachhaus, Munich 65 x 50.2 Oil tempera on cardboard 1916 Moscow: Tretyakov Gallery ...
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