FREAKING NEWS Story + trompe d'oeil
Trompe l'oeil
History in painting
The phrase, which can also be spelled without the hyphen and ligature in English as trompe l'oeil,[1] originates with the artist Louis-Léopold Boilly, who used it as the title of a painting he exhibited in the Paris Salon of 1800.[2] Although the term gained currency only in the early 19th century, the illusionistic technique associated with trompe-l'œil dates much further back.[3] It was (and is) often employed in murals. Instances from Greek and Roman times are known, for instance in Pompeii. A typical trompe-l'œil mural might depict a window, door, or hallway, intended to suggest a larger room.
A version of an oft-told ancient Greek story concerns a contest between two renowned painters. Zeuxis (born around 464 BC) produced a still life painting so convincing that birds flew down to peck at the painted grapes. A rival, Parrhasius, asked Zeuxis to judge one of his paintings that was behind a pair of tattered curtains in his study. Parrhasius asked Zeuxis to pull back the curtains, but when Zeuxis tried, he could not, as the curtains were included in Parrhasius's painting—making Parrhasius the winner.
Perspective
A fascination with perspective drawing arose during the Renaissance. Many Italian painters of the late Quattrocento, such as Andrea Mantegna (1431–1506) and Melozzo da Forlì (1438–1494), began painting illusionistic ceiling paintings, generally in fresco, that employed perspective and techniques such as foreshortening to create the impression of greater space for the viewer below. This type of trompe l'œil illusionism as specifically applied to ceiling paintings is known as di sotto in sù, meaning "from below, upward" in Italian. The elements above the viewer are rendered as if viewed from true vanishing point perspective. Well-known examples are the Camera degli Sposi in Mantua and Antonio da Correggio's (1489–1534) Assumption of the Virgin in the Parma Cathedral.
Similarly, Vittorio Carpaccio (1460–1525) and Jacopo de' Barbari (c. 1440 – before 1516) added small trompe l'œil features to their paintings, playfully exploring the boundary between image and reality. For example, a fly might appear to be sitting on the painting's frame, or a curtain might appear to partly conceal the painting, a piece of paper might appear to be attached to a board, or a person might appear to be climbing out of the painting altogether—all in reference to the contest of Zeuxis and Parrhasius. In a 1964 seminar, the psychoanalyst and theorist Jacques Lacan (1901–1981) observed that the myth of the two painters reveals an interesting aspect of human cognition. While animals are attracted to superficial appearances, humans are enticed by the idea of things that are hidden.
Quadratura
Perspective theories in the 17th century allowed a more fully integrated approach to architectural illusion, which when used by painters to "open up" the space of a wall or ceiling is known as quadratura. Examples include Pietro da Cortona's Allegory of Divine Providence in the Palazzo Barberini and Andrea Pozzo's Apotheosis of St Ignatius on the ceiling of the Roman church of Sant'Ignazio.
The Mannerist and Baroque style interiors of Jesuit churches in the 16th and 17th centuries often included such trompe-l'œil ceiling paintings, which optically "open" the ceiling or dome to the heavens with a depiction of Jesus', Mary's, or a saint's ascension or assumption. An example of a perfect architectural trompe-l'œil is the illusionistic dome in the Jesuit church, Vienna, by Andrea Pozzo, which is only slightly curved, but gives the impression of true architecture.
Trompe-l'œil paintings became very popular in Flemish and later in Dutch painting in the 17th century arising from the development of still life painting. The Flemish painter Cornelis Norbertus Gysbrechts created a chantourné painting showing an easel holding a painting. Chantourné literally means 'cutout' and refers to a trompe l'œil representation designed to stand away from a wall.[4] The Dutch painter Samuel Dirksz van Hoogstraten was a master of the trompe-l'œil and theorized on the role of art as the lifelike imitation of nature in his 1678 book, the Introduction to the Academy of Painting, or the Visible World (Inleyding tot de hooge schoole der schilderkonst: anders de zichtbaere werelt, Rotterdam, 1678).[5][6]
A fanciful form of architectural trompe-l'œil, quodlibet, features realistically rendered paintings of such items as paper knives, playing cards, ribbons, and scissors, apparently accidentally left lying around.[7]
Trompe-l'œil can also be found painted on tables and other items of furniture, on which, for example, a deck of playing cards might appear to be sitting on the table. A particularly impressive example can be seen at Chatsworth House in Derbyshire, where one of the internal doors appears to have a violin and bow suspended from it, in a trompe l'œil painted around 1723 by Jan van der Vaart.[8] Another example can be found in the Painted Hall at the Old Royal Naval College, Greenwich, London. This Wren building was painted by Sir James Thornhill, the first British born painter to be knighted and is a classic example of the Baroque style popular in the early 18th century. The American 19th-century still-life painter William Harnett specialized in trompe-l'œil. In the 20th century, from the 1960s on, the American Richard Haas and many others painted large trompe-l'œil murals on the sides of city buildings, and from beginning of the 1980s when German Artist Rainer Maria Latzke began to combine classical fresco art with contemporary content trompe-l'œil became increasingly popular for interior murals. The Spanish painter Salvador Dalí utilized the technique for a number of his paintings.
https://en.wikipedia.org/wiki/Trompe-l%27%C5%93il
Sai cos’è il trompe l’oeil?
Presto detto…
Il trompe l’oeil è la tecnica molto antica di realizzare un dipinto e affresco (ma oggi basta anche una semplice stampa su adesivo), capace di “ingannare l’occhio”.
Il trompe l’oeil era, realizzare attraverso la pittura un soggetto in modo realistico, tanto da far sparire alla vista di chi lo osserva la parete su cui esso era dipinto.
Ti stai dicendo: ok, interessante ma a me a che può servire?
Te lo dico subito! Ma prima voglio darti qualche altra informazione se me lo permetti.
Devi sapere che questa tecnica ha origini molto antiche anche se non è possibile sapere con certezza dove ha avuto origine.
Di certo nasce molto prima che i francesi coniassero questo termine per definirla.
Probabilmente ha origine nell’antica Grecia con successivo impiego e sviluppo nelle ville dell’antica Roma, Ercolano e Pompei.
In
alcune di queste case e ville tornate alla luce è ancora possibile
osservarne la bellezza e il verismo degli affreschi che con illusorie
aperture su giardini, colonnati e balconate aprono lo sguardo a
suggestivi paesaggi.
Si cominciò ad utilizzarli per motivi estetici e architettonici.
Non sempre era possibile praticare aperture nelle pareti di un appartamento (le vetrate non ancora inventate).
Un affresco con “pittura illusionistica” dava la sensazione di illuminare e ampliare lo spazio della stanza.
Oggi
di trompe l’oeil se ne realizzano raramente e le stanze hanno sempre
finestre per far entrare luce e godere dei panorami esterni.
Noi di vetrinedecorate.it però crediamo che questa filosofia dell’immaginario meriti di essere riscoperta, ancor più se rivisitata in versione e funzione moderna.
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