Vintage Jean Paul Gaultier Trompe L’oeil ‘Goddess’ Print Dress
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John F. Peto (1854-1907)
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Cenotaph for Isaac Newton
Étienne-Louis Boullée (1728–1799)
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Gabriel-Germain Joncherie (1798-1856, French) ~ Still Life, 1808
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Jean Paul Gaultier
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"Foreboding Beauty", oil on panel, 25 x 18 in.
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‘Punto di Fuga (Vanishing point), Palazzo Farnese, Rome, Italy,
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A trompe l’oeil wall of books is a surface treatment of distinction.
The Complete Book of Home Decorating, 1999
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Architectural Veduta attributed to Francesco di Giorgio Martini or Paolo Uccello. c. 1490.
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My 3rd Mural! (Rainforest-themed design)
(09/2021 - took a little over 2 weeks to complete!)
For this mural, I wanted to attempt to do some trompe-l'œil kinda of painting with a crack in the wall leading towards a beautiful rainforest world... And then I had to add some critters coming from that world into ours, and the painstaking task of trying to paint a shadow for the vine coming “out” of the wall... It was my first attempt at painting something illusionistic like this, and I really enjoyed it!
I also love that lil frog more than anything I’ve ever painted before lol :’)
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Naked Trompe L’oeil Mesh Pieces by @/syndicalchamber
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Amazing Tromple l'oeil
Text / The revolution will be trivalized
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...sometimes the solitary voice can be the best one...
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Gabriel-Germain Joncherie (1798-1856, French) ~ A trompe-l'œil, with a goldfinch and kingfisher together with an engraving, a candle and a crucifix, n/d
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Blue Bow Clasp, or A Perennial Motif in Fashion
A bow can be a real thing in fashion. Think two actual lengths of cloth tied into a bow that closes a dress or shoe. Pull on it and the dress or shoe falls open. Or it can be an unreal thing. Think a bow on a dress that looks tied but does not untie because it is really one length of cloth looped prettily and another length tacked around it keeping the pretty loops in place. Or a bow can be a motif. For example, the trompe l-oeil, French for “fool the eye” of a dark sweater with a an apparent pale collar and bow which was really only the use of two different colors of yarn which became a fad that made Elsa Schiaparelli famous for designing it in 1927. Bows have been tacked all over dresses as well, again serving no purpose but decoration.
This clasp serves a purpose and is decoration, but is only a reminder of a snappy little bow. This would have clasped shut an evening cape or coat and is made of base metal and blue glass gems. See on the back of the bow the bar on each half, each has two little holes for sewing the clasp to the edge of the garment. This could date almost any decade of the 20th Century because bows have been a perennial motif. It is over three inches long and is making me think that I really need to build up my outerwear for evening.
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"Ring Around the Roses", oil on panel, 32 x 24 in.
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Dummy Board Chimneypiece Inset: painted pine, a trompe l'oeil of a cat seated on a parquet floor within a panelled room, England, ca. 1900.
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Venus Rising From the Sea—A Deception - Raphaelle Peale
“In Venus Rising from the Sea, Raphaelle Peale created the illusion of a cloth hiding a bathing woman. Technical examination, however, reveals that her body does not continue underneath the linen. The visible figural elements add to the deception. They were derived not from life, but from a print of an earlier canvas by the Englishman James Barry.
“Peale's deception draws on the ancient Roman author Pliny's account of a competition between two Greeks to determine the better artist. While Zeuxis painted grapes so convincingly that birds pecked at them, Parrhasios painted a curtain so realistically that it tricked his fellow artist. Peale's design also alludes to the contemporary practice of covering paintings of nudes, one that he deemed ridiculous though his father Charles Willson Peale found it prudent.”
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Andrea Mantegna (1431–1506) Fresco painted oculus of Camera Picta, 1474. Technique of sotto in su (perpective), diameter: 270 cm. Camera degli Sposi, Palazzo Ducale, Mantua. [prev post]
Mantegna transformed the flat ceiling of the small interior "bridal suite” into a concave illusion of an elegant open-air pavilion – Britannica
Piero Fornasetti (1913–1988) Lina Cavalieri’s face variations on hand-painted porcelain ornamental plates.
Fornasetti’s fascination for Lina Cavalieri emerged from the pages of a late 19th century magazine editorial for the famous opera singer. – Fornasetti official site
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