Art Appreciation DB 7

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Chapter 4.5 Art, Illusion, and Transformation

PART 4

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Introduction

Illusionism: artistic skill to make something look real

Trompe l’oeil (French for “fool the eye”): two-dimensional artworks that convincingly appear to be three-dimensional objects

Artists suggest transformation of objects and ideas through illusion

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

Art as an Illusionistic Window

Ancient story of Greek painters Zeuxis and Parrhasius reveals the millennia-old effort by artists to create convincing illusions

Leon Battista Alberti wrote in his treatise On Painting that artists should design their paintings as illusionary windows

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

As ancient Roman author Pliny the Elder tells it, Zeuxis’s painting of grapes was so realistic that birds flew down to peck at them

Parrhasius in turn painted such a convincing curtain that Zeuxis reached for the drapery, hoping to see the painting on which his rival was working

After being fooled, Zeuxis conceded that Parrhasius had won the competition

Leon Battista Alberti (1404–1472) was an architect and thinker

Artwork: Andrea Mantegna, detail of central oculus

4.5.1 Andrea Mantegna, detail of central oculus, ceiling of the Camera degli Sposi. Fresco, 8’9” diameter. Ducal Palace, Mantua, Italy

Andrea Mantegna, detail of central Oculus, Camera degli Sposi

Part of an entire room of trompe l’oeil paintings: “Room of the Newlyweds”

Used to greet government officials and as a bedroom

Painted illusion of an oculus open to the sky, surrounded by figures

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

Italian artist Andrea Mantegna (c. 1431–1506) created the painting for the palace of Ludovico Gonzaga, the Duke of Mantua

Mantegna painted the walls with scenes of the royal family and of historical victories of the Gonzagas

One light-skinned girl wears a white veil, referring to the title of the room and to the duke’s recent marriage to his wife. Similarly, the prominent peacock symbolizes Juno, the Roman goddess of marriage

Portal Artwork: Masaccio, Trinity

1.3.20 Use of one-point perspective: Masaccio, Trinity, c. 1425–26. Fresco, 21'10½" × 10’4⅞". Santa Maria Novella, Florence, Italy

The Renaissance artist Masaccio utilized one-point perspective to create the illusion of a separate architectural niche in the painting Trinity.

Artwork: Parmigianino, Self-Portrait in a Convex Mirror

4.5.2 Parmigianino, Self-Portrait in a Convex Mirror, c. 1524. Oil on wood, 9½” diameter. Kunsthistorisches Museum, Vienna, Austria

Parmigianino Self-Portrait in a Convex Mirror

Painted on a convex piece of wood

Given to Pope Clement VII, in order to attract commissions

Artist changed what he saw: accurately depicted himself as right-handed

Heightened illusion by featuring part of the frame within the artwork

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

The Italian artist Francesco Mazzola (1503–1540) was known as Parmigianino (“the little one from Parma”)

Parmigianino also featured a portion of the frame of the painting he was creating (visible on the right side of the artwork) in order to heighten the illusion of it being a handheld mirror

Portal Artwork: Masaccio, Tribute Money

3.6.5 Masaccio, Tribute Money, c. 1427. Fresco, 8'1" × 19'7". Brancacci Chapel, Santa Maria del Carmine, Florence, Italy

Masaccio utilized atmospheric perspective in Tribute Money by making the distance hazy, painted in cooler colors than the foreground.

Artwork: Raphael, The School of Athens

4.5.3 Raphael and assistants, Stanza della Segnatura, Vatican City, Italy, 1509–11

Raphael, The School of Athens

One wall of Pope Julius II’s library

Four walls: Philosophy, Poetry, Theology, and Justice

Books were arranged according to the topic of the corresponding painting

Illusion of depth

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

The Italian artist Raphael (1483–1520) created the illusion of an architectural space that was separate from the actual room and filled with life-sized figures linking the Classical world with the humanist Renaissance

The other large paintings, turning counterclockwise around the room, are: Parnassus, the mountain sacred to the god Apollo and, in Classical mythology, the home of poetry (on the left wall in 4.5.2); Disputa, a work that unites Classical ideas with Renaissance Christian theology; and Jurisprudence, which emphasizes law and justice

Artwork: William M. Harnett, The Old Violin

4.5.4 William M. Harnett, The Old Violin, 1886. Oil on canvas, 38 × 23⅝”. National Gallery of Art, Washington, D.C.

William M. Harnett, The Old Violin

Leads the viewer to question what is reality and what is illusion

Everything is painted, except for the blue envelope, which is real and signed by the artist

Guards had to prevent viewers from reaching out to test if objects were real

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

The American painter William M. Harnett (1848–1892) was so skillful at tricking his audiences with trompe l’oeil that, when he created a truly convincing dollar bill in one of his paintings, he was investigated for counterfeiting by the U.S. Treasury Department

Portal Artwork: Mantegna, Dead Christ

4.3.3 Andrea Mantegna, Dead Christ, c. 1480. Tempera on canvas, 26¾ × 31⅞". Pinoteca di Brera, Milan, Italy

The Renaissance artist Mantegna, who painted the ceiling earlier (4.5.1), utilized the perspective technique of foreshortening to emphasize the stigmata in Christ’s feet.

Artwork: Julian Beever, Woman in Pool

4.5.5a Julian Beever, Woman in Pool, drawn in Brussels, Belgium, 1992. Colored chalks, 14’9¼” × 13’1½ ” (correct viewing point)

Artwork: Incorrect viewing point of Julian Beever, Woman in Pool

4.5.5b Julian Beever, Woman in Pool, drawn in Glasgow, Scotland, 1994. Colored chalks, 14’9¼” × 13’1½” (incorrect viewing point)

Julian Beever, Woman in Pool

Applies anamorphosis to sidewalk art

An image is stretched and distorted, but becomes clear when viewed from one particular position

Extreme foreshortening

The artist pretends to dip his foot in the pool

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

British artist Julian Beever (b. 1960)

Artwork: William Hogarth, False Perspective

4.5.6 William Hogarth, False Perspective. Engraving from Dr. Brook Taylor’s Method of Perspective Made Easy, Both in Theory and in Practice, 1754

Satirizing Illusionism: Hogarth’s False Perspective

Satirizes traditional artists’ training

Hogarth includes spatial impossibilities, such as:

Linear perspective

Vanishing point projected into viewer’s space, rather than receding into pictorial space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

In this frontispiece, William Hogarth (1697–1764), an eighteenth-century British artist, satirizes the traditional training of painters who were taught to use the rules of perspective to create believable spaces.

He thus creates the illusion of a space that is, in fact, impossible.

Illusionism as Trickery

In Classical mythology, Pygmalion created a statue so beautiful that he fell in love with her

Venus brought the sculpture to life

Like Pygmalion, sculptors can use their skill to create works that appear to be convincingly real

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

Kallikrates and Iktinos, Parthenon

4.5.7a Kallikrates and Iktinos, Parthenon, 447–432 BCE, Acropolis, Athens, Greece

Optical Illusions in the Parthenon

4.5.7b Diagram showing the optical illusions utilized in the Parthenon

Optical Illusions in the Parthenon

Temple was designed to counteract naturally occurring optical illusions

Stylobate (platform) would appear to sag if it were actually straight

Columns: swell at mid-point (entasis), are slightly tilted, and are not spaced equidistantly

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

In ancient Greece, the designers of the Parthenon understood that the human eye could play tricks on the beholder

They used their knowledge of mathematics to ensure that the building would appear just as they wished

The Acropolis and Parthenon of Athens

Watch this video to find out more about the architectural vision and skill involved in the creation of the Parthenon:

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

Artwork: Giulio Romano, Palazzo del Tè

4.5.8 Giulio Romano, Palazzo del Tè, exterior, 1524–34, Mantua, Italy

Giulio Romano, Palazzo del Tè

Romano created illusion of an unstable building

Architraves too narrow

Triglyphs appear to be slipping

Appears to be marble or stone, but is actually stucco-covered brick

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

Architectural and two-dimensional illusory techniques were utilized by the Italian artist and architect Giulio Romano (c. 1499–1546), who designed a villa for the same Gonzaga family that had commissioned the decoration of the Camera degli Sposi from Mantegna (see 4.5.1)

Artwork: Giulio Romano, Fall of the Giants

4.5.9 Giulio Romano, Fall of the Giants, 1526–35. Fresco, Sale dei Giganti, Palazzo del Tè, Mantua, Italy

Giulio Romano, Fall of the Giants

Interior painted scene explains the odd design of the Palazzo del Tè’s exterior

A student of Raphael, Romano built on the illusionistic techniques of his master

Depicts episode from Greek mythology

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

The powerful wind, shown in the corner blowing a trumpet, is controlled by the gods in the clouds of Mount Olympus, and therefore protected from the turmoil below

The story explains why the building appears to be tumbling

Artwork: Chuck Close, Fanny/Fingerpainting

4.5.10 Chuck Close, Fanny/Fingerpainting, 1985. Oil on canvas, 8’6” x 7’. National Gallery of Art, Washington, D.C.

Chuck Close, Fanny/Fingerpainting

Photorealism

Based on photograph of wife’s grandmother

Using only thumb- and fingerprints, this was painted in large scale

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

Close’s process, while still quite mechanical, remains personal because of the use of the artist’s own hands in the act of creation.

Illusion and the Transformation of Ideas

Modern and Contemporary artists often use illusionism to highlight an idea

Non-western artists often convey spiritual transformation through illusionism

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

Artwork: Manet, A Bar at the Folies-Bergère

4.5.11 Édouard Manet, A Bar at the Folies-Bergère, 1882. Oil on canvas, 37⅞ × 51¼ ". Courtauld Gallery, London, England

Manet, A Bar at the Folies-Bergère

Reflections in mirror used to cause confusion (barmaid, bottles, etc.)

Why ambiguity?

Mental state of barmaid?

Outside presentation versus internal emotions?

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

The Folies-Bergère was one of the most popular bars and entertainment houses in Paris in the nineteenth century.

Artwork: Whirling Log Ceremony

4.5.12 Whirling Log Ceremony, c. 1925. Tapestry women by Mrs Sam Manuelito, based on a sand painting by Hosteen Klah. Heard Museum, Phoenix, Arizona

Mrs Sam Manuelito, Whirling Log Ceremony

Navajo American Indians make sand paintings as ritual

Transformation occurs as painting becomes powerful vehicle for restoring harmony

Tapestry is copy of sand painting

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

Mrs Sam Manuelito, Whirling Log Ceremony (contd.)

Navajo creation myth

Human Tsil-ol-ne takes journey

4 gods hold staffs

Male/female pairs are guides

Rainbow Maiden borders scene

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

Tsil-ol-ne partakes in a journey that is symbolic of the journey through life.

His long journey will bring him to the Colorado River where he will be pulled ashore by the gods, shown one on each side holding a staff.

Guides (male and female pairs placed in each quadrant standing on the edges of the crossed logs) will teach him everything he needs before he returns home.

The Rainbow Maiden, however, does not border the East horizon (shown at the top of the picture) in order to allow for sunrise the next day, and symbolically a new beginning after the transformation of Tsil-ol-ne.

Portal Artwork: Navajo sand painting

4.2.5 Navajo medicine man in healing ceremony. Photo 20th century

Navajo sand paintings, called iikaah (a “place where gods come and go”), are created in a ritualistic manner, with shaman figures singing chants and often dancing

Artwork: Olmec transformation figurine

4.5.13 Crouching male transformation figurine, Olmec, Mexico, 900–300 BCE. Serpentine with traces of cinnabar, height 4¼". Los Angeles County Museum of Art (LACMA), California

Olmec transformation figurine

Representation of a shaman transforming into a jaguar

The green color of the material (either serpentine or jade) symbolizes rain and fertility

Traces of the red mineral cinnabar, painted ritualistically on the figure, symbolize the blood of life

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

Jaguars were considered powerful beasts in all Mesoamerican cultures and were believed to represent gods.

This example is represented as a combat figure by virtue of its warrior stance and the holes in its hands that suggest it formerly held some kind of weapon.

Small enough to be held in one’s hand, this object was used in rituals that transformed and gave power to shamans.

Artwork: Georges Braque, Man with a Guitar

4.5.14 Georges Braque, Man with a Guitar, 1911–12. Oil on canvas, 45¾ × 31⅞”. MoMA, New York

Cubism: The Fracturing of Illusion

Braque and Picasso developed Cubism

Fracturing of forms and planes

Monochromatic palette

Elements of the subject are identifiable

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

Cubism’s first phase can be described as an analysis and fracturing of form and planes of depth using only a monochromatic palette

Cubist art is not totally non-objective, or non-representational

Braque includes, in the upper left, a seemingly three-dimensional rendering of a rope, the tail of which hangs from a nail

By creating one clear element of illusionism, Braque was able to highlight the intentional breaking down of three-dimensions elsewhere in the painting

Emphasis on two-dimensional painted surface rather than recreating the illusion of three-dimensions

Artwork: René Magritte, The Human Condition

4.5.15 René Magritte, The Human Condition, 1933. Oil on canvas, 39⅜ × 31⅞ × ⅝”. National Gallery of Art, Washington, D.C.

René Magritte, The Human Condition

Magritte confronts us with issues of representation and truth

Showed that the “illusionistic window” of the Renaissance is indeed only a canvas

Demonstrated that paintings can express complex ideas, rather than solely re-creating what we see

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

Belgian artist René Magritte (1898–1967) asks the viewer to question what appears to be a painting of a landscape on an easel, which has been placed before a window that looks out onto the same landscape

Portal Artwork: Magritte, The Treachery of Images

1.3.1 René Magritte, The Treachery of Images (“This Is not a Pipe”), 1929. Oil on canvas, 23¾ × 32". Los Angeles County Museum of Art (LACMA), California

Magritte makes the viewer question the value of illusionism in his painting that states, “This is not a pipe.” Instead, he argues that the image is just a symbol or idea of a pipe

Effects and Illusions

Watch the following videos to discover more about the ingenious and spectacular visual effects and illusions that artists have achieved throughout the centuries:

St. Peter’s Basilica and the Sistine Chapel

Georges Seurat: Sunday on La Grande Jatte

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Video:

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Chapter 4.5 Art, Illusion, and Transformation

Effects and Illusions (contd.)

Watch the following videos to discover more about the ingenious and spectacular visual effects and illusions that artists have achieved throughout the centuries:

Audrey Flack: Photorealism and Vanitas

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Video:

Chapter 4.5 Art, Illusion, and Transformation

Chapter 4.5 Copyright Information

This concludes the PowerPoint slide set for Chapter 4.5

Gateways to Art: Understanding the Visual Arts

Third Edition

By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.5 Art, Illusion, and Transformation

Picture Credits for Chapter 4.5

4.5.1 Photo Scala, Florence, courtesy Ministero Beni e Att. Culturali

4.5.2 Kunsthistorisches Museum, Vienna

4.5.3 Photo Scala, Florence

4.5.4 National Gallery of Art, Washington, D.C. Gift of Mr. & Mrs. Richard Mellon Scaife in honour of Paul Mellon, 1993.15.1

4.5.5a Courtesy the artist

4.5.5b Courtesy the artist

4.5.6 From Kirby, J., Dr Brook Taylor’s Method of Perspective Made Easy, 1754

4.5.7a James Green/ Robert Harding

4.5.7b Ralph Larmann

4.5.8 Gianni Dagli Orti/Palazzo del Tè Mantua/The Art Archive

4.5.9 Pietro Baguzzi/akg-images

4.5.10 National Gallery of Art, Washington, D.C., Gift of Lila Acheson Wallace, 1987.2.1. Photo Ellen Page Wilson, courtesy The Pace Gallery. © Chuck Close, The Pace Gallery

4.5.11 Courtauld Gallery, London

4.5.12 Heard Museum, Phoenix, Arizona

4.5.13 Los Angeles County Museum of Art (LACMA), California. Gift of Constance McCormick Fearing, M.86.311.6 (www. lacma.org)

4.5.15 National Gallery of Art, Washington, D.C., Gift of the Collectors Committee, 1987.55.1. © ADAGP, Paris and DACS, London 2018

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Chapter 4.5 Art, Illusion, and Transformation