Techniques in painting - trompe l'oeil. Optical illusions in the interior (trompe l'oeil) Use of special designs
I want to touch on the topic of a painting technique called Trompley (Trompley (French trompe-l "il, “deception”view") is a technical technique in art, the purpose of which isis to create an optical illusion that the depicted object is in three-dimensional space, while in reality it is drawn in a two-dimensional plane.)IN Lately The concept of 3D has become fashionable, but apart from the name itself (not taking into account modern technologies), in principle nothing has changed.This technique has already been used in Ancient Greece and Ancient Rome. A typical example of an antique trompe l'oeil is a wall depiction of a window, door or atrium to create the false effect that a room is larger than it is.In one of the popular ancient greek stories talks about a dispute between famous artists. Zeuxis created such real and convincing paintings that birds flew in and pecked at the painted grapes. Zeuskis asked his rival Parrhasius if he could remove the tattered curtain from the painting in order to evaluate it. But I discovered that this curtain was painted. Thus Zeuxis misled the birds, and Parrhasius misled Zeuxis.
Indeed, to the unspoiled average Middle Ages, this creativity seemed something transcendental and mystical, so the clergy immediately took it into their arsenal. Many works of ancient masters still delight the eye and amaze our imagination. With an understanding of the laws of perspective, Italian late Quattrocento painters like Andrea Mantegna and Melozzo da Forlì began to paint walls and vaults, mainly frescoes, using the laws of perspective to create the effect of increasing space. This type of trompe l'oeil is known as di sotto ins, from above further in Italian.
Ceiling frescoes by Andrea
Mantegnain the Camera degli Sposi in Mantova's Palazzo Ducale 
secular interiors, in which the border between the real and the picturesque disappears
architecture, walls and vaults, authentic and “painted” stucco decoration
(frescoes in the Roman churches of San Francesco in Mondovi, 1676-1679, and Sant'Ignazio in Rome,1685-1699; in the Hercules Hall of the Liechtenstein Palace in Vienna, 1704-1707). Around 1665 Andrea del Pozzo joined the Jesuit order. GeneralSuperior of the Jesuit Society of Oliva, refined and highly educated Human, loved art. During his tenure as general the Jesuits of Romecompletely adopted the Baroque style. He actively supported three greatworks of art: completion of the Church of St. Andrew on the Quirinal, decoration of Gesu and painting of St. Ignatius.The masterpiece of his talent is the ceiling of the Church of St. Ignatius of Loyola in Eternal
city. The temple was consecrated in 1662, but the construction of the dome at the orderThe Jesuits did not have enough money. It turned out to be more profitable to invite a Jesuit brotherPozzo, so that he could create a mind-blowing image on a canvas with a diameter of 17 metersillusion of the arch of a non-existent dome with the image of the Apotheosis of the SaintIgnatius. A white stone is built into the floor of the miracle temple, meaning a place withwhich the illusion on the false ceiling is better visible.
One of the authors of this style is Hoogstraten Samuel Wang, Dutch artist, student of Rembrandt. Abandoning the dramatic style of his teacher, he became interested in the illusionistic recreation of real objects and space using painting techniques. Hoogstraten painted
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→ Panels using trompe l’oeil technique and textured multi-layer surface
January 14, 2013
They are called the “three Provençal sisters” - the abbeys of Senanque, Torone and Silvacan. Three monasteries, three pearls of Romanesque architecture in a precious necklace of Provence-Alpes-Côte d'Azur. Only one of them still remains an active monastery of the Cistercian order - Senanque Abbey. The monastery, located in a narrow canyon, is a place of solitary prayer and reflection. The surrounding area of the monastery is famous for its lavender fields; the monks grow lavender and maintain an apiary.
Why this excursion? Attempts to find the image of Provence, to understand its soul, led me to the conclusion made by one wonderful craftswoman: Provence is texture and color . I made a panel on which I depicted this collective image monastery gallery, and called it "View of lavender fields from the gallery of Senanque Abbey." This is primarily an attempt to convey the texture and color of Provence as I imagine it. The color of dark ocher and terracotta are the ocher quarries of Provence. The color of lavender is the lavender fields of Provence (although for me Provence is not only lavender!). Various shades green - vineyards on the hills of Provence. Ocher-red foliage – the velvet autumn of Provence.
To make it clearer what exactly inspired me, I will allow myself to show two photographs of the abbey
Well, now I’ll try to show the process of creating a panel - you can judge what happened
1. Materials
Napkin motif - 1/2 napkin
Facade textured paint white
Acrylic paints - burnt sienna, natural sienna, Prussian blue, white, red, ocher, chromium oxide, natural umber
Blank - panel size 40 by 50 cm, frame - wooden
Gesso soil
Matte spray varnish
Napkin glue
Synthetic and squirrel brushes
Masking tape
We also need to say a few words about what it is trompe l'oeil . Literally translated, this means “optical illusion.” This is a set of techniques that create visual illusions. For example, on a flat surface - creating a three-dimensional image. This way you can expand the space of a small room, creating the illusion of a window or terrace. In my work, I tried, as best I could, to create such a three-dimensional image - a gallery and a view of the lavender field. In trompe l'oeil it is very important to correctly apply the rules of artistic perspective.
So I had a half
napkins
2. Step two
I draw out the panel, marking the vanishing point (this is the place opposite which the viewer is), the front and medium shot. Based on the location of the auxiliary lines, I sketch out the columns and tiles on the gallery floor. Yes, I almost forgot - I first prime the panel where the image will be
3. Step three
I erase all the auxiliary lines with an eraser - this is what remains:
4. Step four
I paste a napkin on the place where I have two central arches. For ease of gluing, I tear the napkin in half
5. Step five
I paint on the sky above the napkin and draw on the tiles on the floor. I stretch the napkin motif - I paint the landscape in the two outer arches, like on a napkin
6. Step six.
I use masking tape to cover the borders of columns, arches and balustrades.
7. Step seven
I apply facade textured paint on arches, columns, balustrades
8. Step eight
After the first layer of textured paint has dried (I leave it overnight), I again cover the facade and the base of the columns with masking tape and apply a second layer of facade paint in accordance with the architecture of the columns - this way I want to enhance the feeling of a three-dimensional image
Additional volume has appeared
9. Step nine
Now I’m starting to work with paints - there’s nothing special to comment on here, I’ll just show you the photos
I add shadows, highlight the columns and arches. I depict the shadows of the columns on the tiled floor
Adding a brown tone to the tiles on the floor
I depict the exposed masonry of columns, cracks in the plaster
On the columns I want to paint some kind of climbing plant - for example, ivy. I outline the ivy lashes - I work with a thin squirrel brush
I paint the foliage with chromium oxide, highlighting the tips of the leaves white where the sun hits them
A butterfly perched on an ivy branch - a small romantic departure from the ascetic appearance of the monastery gallery
10. Step ten.
I mark the brickwork on the frame.
11. Step eleven.
I paint the frame and insert the panels. I fix the image with matte spray varnish. I photograph the result
I add a little ambience - lavender in a metal jug will not be superfluous at all
Well, that's all. I hope you find this little creative demo useful. Good luck!
Tromley or optical illusion - a technical technique and direction in modern painting, based on the effects of optical illusions. The purpose of the trompe l’oeil is to create the effect of space and volume on a flat surface or on several surfaces, which, from a certain viewing angle, form three-dimensional pictures.
History of development
For the first time, decoys were used during Ancient Rome and Greece. The most common illusions are realistic image window, alcove, door, atrium on a flat wall surface. Optical illusion was used to visually expand the space of the room. The height of art when using the trompe l'oeil technique is creating the most believable illusion. One of greatest representatives directions in Greece was Zeuxis. Realistic illusions on the walls made it impossible to doubt the existence of the depicted object, even upon careful examination at close range.
There are so many design ideas for landscapes that you want to bring to life! In this regard, owners of large plots of land are lucky - they are allowed almost everything. Laying out an alley in a regular style is not a problem, planting a flowering meadow outside the walls of the house is also not a problem. “Obviously you can’t see all this beauty in my small area,” you might think. And you will be wrong! Of course, placing a real alley on a small piece of land between garden beds and garden trees is problematic, but you can create a complete optical illusion of its presence. Then you will admire this beauty every day - as soon as you go out into the yard of your site.
In fact, there are many ways to create optical illusions, but we will focus on one of the most striking techniques, pioneered by the ancient Romans. It's about about the ancient art of Trompe-l’oeil (trompley), which translated from French means “optical illusion.”
What is this anyway and why is it needed?
Trompe-l’oeil are realistic trompe l’oeil paintings that create the illusion of the complete presence in space of something that is not actually there. Remember the drawing of a fireplace on canvas that Pinocchio saw in Papa Carlo’s closet - this was the trompe l’oeil that deceived the wooden man who decided to stick his nose into the pot. In the garden, Trompe-l’oeil is used in the form of images of perspectives supposedly opening behind non-existent windows, sculptural elements visually built into the walls of buildings. In a word, with the help of this technique, any objects or plant compositions can appear on your site, which from the outside are practically indistinguishable from the real thing.
Behind the door there is an illusory space - Trompe-l’oeil
What are the goals of Trompe-l’oeil?
The main goal of trompe l'oeil art is to visually expand the space, which will be especially noticeable in small areas limited by blank fences. Niches painted on the walls, through which endless fields and gardens are visible, “reveal” the enclosed space and visually enlarge it. And of course, we shouldn’t forget that such decoy paintings make the landscape design of any area more interesting. Various doors and windows, behind which new, picturesque horizons open, give the space an extraordinary mystery.
How is the illusion created?
A drawing in the trompe l'oeil style should be as realistic as possible, so you should not experiment with painting landscapes on your own. Find professional artist or a photographer who knows the techniques of this art - only then will you get the desired effect of realism.
The trompe l'oeil technique must be performed by a person who understands something about it
In addition, when creating a Trompe-l’oeil work, one should take into account the angle of view of the person looking at the illusory object and the play of light. “Deception” becomes a visual reality most often from a certain angle. This is why it is so important not only to create an interesting composition, but also to place it so that the illusion really works. Browse the song with different sides, you may have to limit the angle of view somewhere. In these places it will be necessary to place distracting objects - supports with climbing plants, trees, statues, etc.
Often in Trompe-l’oeil drawings there is an effect of continuation of the lines of a real object located near the wall. From the outside it is difficult to distinguish where the real tree branches end and the drawn ones begin. Also the picture can up to the smallest details copy the stone or brickwork of the wall on which it is placed. In this way, the Trompe-l’oeil work merges with real objects and creates a holistic landscape composition.
A painted horse jumps onto a real lawn!
Remember that any, even the most skillful drawing, still remains a drawing and upon closer examination this can be seen. Therefore, it is not recommended to place illusory “decoys” too close to the intended places of their viewing. Often they are installed at the end of a garden path or alley - then the deception will be revealed only when the viewer comes close to the picture.
The door at the end of the alley is just a “trick”
Trompe l'oeil ideas and examples of implementation
The landscape depicted on a blank wall opens up the space inside the house and turns it into an open terrace with columns. This technique turns our perception upside down and makes us believe that the wall does not exist.
Illusory objects are also useful if there are ugly outbuildings on the site. Any garages, old barns, transformer boxes can be decorated realistic picture and turn it into interesting landscape object. This one is especially impressive Wall art will look in tandem with plants, pergolas, trellises, stone placers and others decorative elements.
If you lay out the outline of a window made of bricks on the wall and fill it with a painting depicting a Provençal landscape, then from a distance it will seem that the wall of your house borders the southern regions of France.
The realism of the trompe l'oeil paintings is effectively complemented by various arched and lattice wooden structures. The wooden arch creates the complete feeling that the path does not end near the wall, but continues and leads deeper into the garden.
And there is room for such a vegetable garden even on the smallest plot!
Amazing technique Trompe-l'oeil will help you make the area the way you want and place whatever your heart desires there. So what if it’s just an illusion! The beauty of your site, its originality and originality will be completely real!
Battle of Livorno, March 14, 1653, a battle in the First Anglo-Dutch War.
Firstly, the picture looks familiar and it seems that you have seen it many times before. A grandiose sea scene with smoke billowing from the sails. But wait a minute. What, what's in the lower right corner? Some kind of crumpled note...
Johan Klopper.
This is just one example of deception. Trompe l'oeil or trompe l'oeil (French trompe-l "œil, “optical illusion”) is a technical technique in art, the purpose of which is to create the optical illusion that the depicted object is in three-dimensional space, while in reality it is drawn in a two-dimensional plane .
The history of art is full of them - festive tables are bursting with delicacies, the wallpaper beckons you into a phantom corridor. What is significant about optical tricks is that decoys can take on all shapes and sizes.
And it all started with a confrontation. However, many great inventions began with competition.
Zeuxis and Parrhasius argued about who would paint the wall of the temple better. People gathered, two rivals came out, under each painting under a blanket. Zeuxis pulled back the covers - there was a bunch of grapes, so similar that birds flocked to peck at it. The people applauded.
“Now you pull back the covers!” - Zeuxis said to Parrhasius.
“I can’t,” replied Parrasius, “that’s what I drew.” Zeuxis bowed his head. “You won! - he said. “I deceived the eye of the birds, and you deceived the eye of the painter.”
Both Zeuxis and Parrhasius are real historical characters.
The curtain was just an illusion. WITH through his labors Zeuxis acquired not only great fame and colossal fortune, which allowed him to lead luxurious life and aroused in him exorbitant pride.
On holidays and public places he came out in purple robes embroidered with the artist’s gold monograms.
Over time, Zeuxis stopped taking money and donated his works to rulers, temples and cities, claiming that his works “exceed all price.”
Sebastian Sommar
Hugo de Lannoy, Quentin Poulet.
Cornelis Norbertus Giesbrechts (circa 1630 - after 1683) was a Flemish painter, master of still life and trompe l'oeil techniques.
Little information has been preserved about the artist’s life. Giesbrechts was born in Antwerp probably after 1630.
Around 1660, Giesbrechts was enrolled in the Antwerp Guild of Painters of St. Luke.
From 1668 to 1672 he lived in Copenhagen, being the court artist of the kings of Denmark, Frederick III and Christian V.
Cornelis Norbertus Giesbrechts
Since then, artists, printmakers and illustrators have reveled in the opportunity to fool their viewers with this clever effect, playing with perspective, blurring the line between the real and the fake.
Karl Hoverberg, Livrustkammaren. CC BY-SA.
