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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 ...
Paul Troger (30 October 1698 – 20 July 1762) was an Austrian painter, draughtsman, and printmaker of the late Baroque period. Troger's illusionistic ceiling paintings in fresco are notable for their dramatic vitality of movement and their palette of light colors.
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.
English Baroque is a term used to refer to modes of English architecture that paralleled Baroque architecture in continental Europe between the Great Fire of London (1666) and roughly 1720, when the flamboyant and dramatic qualities of Baroque art were abandoned in favour of the more chaste, rule-based Neo-classical forms espoused by the proponents of Palladianism.
Giovanni Battista Gaulli (8 May 1639 – 2 April 1709), also known as Baciccio or Baciccia (Genoese nicknames for Giovanni Battista), was an Italian Baroque painter working in the High Baroque and early Rococo periods. He is best known for his grand illusionistic vault frescos in the Church of the Gesù in Rome.
John the Baptist (John in the Wilderness), by Caravaggio, 1604, in the Nelson-Atkins Museum of Art, Kansas City. Tenebrism, from Italian tenebroso ('dark, gloomy, mysterious'), also occasionally called dramatic illumination, is a style of painting using especially pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the ...
The tapestries were designed in the Flemish High Baroque style. They display signature characteristics of the style such as expressive facial expressions, monumental figures, and dramatic poses. [1] Some of the borders on the tapestries are also identical to the borders in Peter Paul Ruben's tapestry series The Story of Constantine. [8]
He also continued to experiment with the use of geometrical perspective in the architectural background, obtaining illusionistic effects in details such as the oblique staircase in the Presentation at the Temple. The two niches with still lifes in the basement are perhaps inspired by Giotto's ones in the Scrovegni Chapel.