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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 ...
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 Prophet Isaiah is a fresco located in Basilica di Sant'Agostino, an early Renaissance church in Rome. It is an Italian Renaissance painting, influenced by Michelangelo's work on the Sistine Chapel ceiling. Isaiah, a powerful figure, gives the illusion of a three-dimensional character, flanked by putti figures.
This article about the development of themes in Italian Renaissance painting is an extension to the article Italian Renaissance painting, for which it provides additional pictures with commentary. The works encompassed are from Giotto in the early 14th century to Michelangelo 's Last Judgement of the 1530s.
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 Demi-Gods Ceiling is a painted coffered ceiling by the Italian Renaissance master Pinturicchio, dating to c. 1490 and housed in the last of the suite of reception rooms in the Palazzo dei Penitenzieri in Rome, Italy.
Italian Renaissance painting is the painting of the period beginning in the late 13th century and flourishing from the early 15th to late 16th centuries, occurring in the Italian Peninsula, which was at that time divided into many political states, some independent but others controlled by external powers.
Mantegna's exploration of how paintings or decorations could respond to the presence of the viewer was a new idea in Renaissance Italy that would be explored by other artists. The Camera degli Sposi's illusionistic ceiling also set a new standard for di sotto in sù ceiling paintings that would go on to inspire the ceiling paintings of ...