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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 ...
Andrea Mantegna's late-Quattrocento ceiling fresco in the Camera degli Sposi (commissioned by Ludovico III Gonzaga for Mantua's Ducal Palace) is an early example of illusionistic ceiling painting. The art of Late Antiquity famously rejected illusionism for expressive force, a change already well underway by the time Christianity began to affect ...
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.
Following is a list of Italian painters (in alphabetical order) who are notable for their art. This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources .
Giovanni Battista Tiepolo (/ t i ˈ ɛ p ə l oʊ / tee-EP-ə-loh, Italian: [dʒoˈvanni batˈtista ˈtjɛːpolo, ˈtjeː-]; [1] 5 March 1696 – 27 March 1770), also known as Giambattista (or Gianbattista) Tiepolo, was an Italian painter and printmaker from the Republic of Venice who painted in the Rococo style, considered an important member of the 18th-century Venetian school.
Before Mantegna began painting, the room was renovated to be as close to a square as possible with the dimensions of roughly eight by eight meters wide and seven meters tall. [4] Original architectural features of the room include the triple vaults on each wall, a fireplace on the north wall, doorways on the west and south walls, and windows on ...
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 ceiling fresco is 2.8 metres (9.2 ft) tall and 7 metres (23 ft) wide. It is displayed within a painted frame or quadro riportato and depicts from right to left, Aurora (Dawn) in a golden billowing dress with her garlands flying over a dim-lit landscape, leading a blond Apollo in his horse-drawn chariot, surrounded by a chain of female "hours", bringing light to the world.