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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 ...
In his writings and art criticisms during the mid-1960s art critic and artist Donald Judd claimed that illusionism in painting undermined the artform itself. Judd implied that painting was dead, claiming painting was a lie because it depicted the illusion of three-dimensionality on a flat surface. Judd claimed that painting needed to recognize ...
The painting, 17 m in diameter, is devised to make an observer, looking from a spot marked by a metal plate set into the floor of the nave, [4] seem to see a lofty vaulted roof decorated by statues, while in fact the ceiling is flat. The painting celebrates the apostolic goals of Jesuit missionaries, eager to expand the reach of Roman ...
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.
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.
The gestures of the two are essential and contained, yet full of expression, where references to the old and the real are intertwined with a deep psychological analysis of man. Masaccio's painting is sober and realistic, with a powerful use of chiaroscuro which models and describes with simplicity the essential elements of the figures.
The development of fast painting techniques called prestezza allowed him to produce many works while engaged on large projects and to respond to growing demands from clients. [27] This, and his use of assistants, enabled Tintoretto ultimately to produce a greater number of paintings for the Venetian state than any of his competitors. [28]
Giovanni Francesco Barbieri (February 8, 1591 – December 22, 1666), [1] better known as (il) Guercino [2] (Italian pronunciation: [ɡwerˈtʃiːno] ⓘ), was an Italian Baroque painter and draftsman from Cento in the Emilia region, who was active in Rome and Bologna. The vigorous naturalism of his early manner contrasts with the classical ...