Trompe L Oeil

Step-by-step projects for every area of the home.

Our political age is characterized by forms of description as ‘big’ as the world itself: talk of ‘public knowledge’ and ‘public goods,’ ‘the commons’ or ‘global justice’ create an exigency for modes of governance that leave little room for smallness itself. Rather than question the politics of adjudication between the big and the small, this book inquires instead into the cultural epistemology fueling the aggrandizement and miniaturization of description itself. Incorporating analytical frameworks from science studies, ethnography, and political and economic theory, this book charts an itinerary for an internal anthropology of theorizing. It suggests that many of the effects that social theory uses today to produce insights are the legacy of baroque epistemological tricks. In particular, the book undertakes its own trompe l’oeil as it places description at perpendicular angles to emerging forms of global public knowledge. The aesthetic ‘trap’ of the trompe l’oeil aims to capture knowledge, for only when knowledge is captured can it be properly released.

The essays in Disguise, Deception, Trompe-l'oeil: Interdisciplinary Perspectives investigate the subject of deception and falsehood from various perspectives. Classical, modernist and postmodern texts and art forms, both visual and performative, are examined in frames of reference that range from aesthetics and literary theory to cognitive science. In some cases, deception and falsehood are seen to have positive connotations, and, in other cases, their negative dimensions are highlighted. The complexity of these terms and their relationship with truth and truthfulness are put on display by the contributors to this volume.

From a countryside panorama in a windowless room to a faux mosaic wall, an intricately painted Oriental carpet to a soaring cathedral dome in a single-story room, Trompe l’oeil painting offers an art form ideal for contemporary interiors, adding color and aesthetic atmosphere and responding to specific architectural needs and situations. Trompe L’Oeil Today offers a fascinating overview of the range of styles and techniques of illusionistic painting for private residences and public spaces, restaurants and other commercial interiors, and even indoor swimming pools. It covers unusual techniques, such as anamorphism, and bold geometric patterns, as well as more traditional Trompe L’oeil subjects, including Pompeian-style wall paintings, classical arches and colonnades, landscapes, statues and reliefs, and elaborate ceiling treatments. The book defines the categories of illusionistic painting: material imitation, or faux finishes, ranging from marble and wood finishes to snake and crocodile skin; grisaille, including imaginary moldings, reliefs, and statuary; small-format trompe l’oeils, such as those painted in niches and on doors; and large panoramic murals. Experienced professionals, the authors address practical questions and offer helpful tips and tricks for choosing the right materials, technique, and style. They examine the use of perspective and the psychology of visual perception, presenting a visually beguiling array of painting possibilities. Trompe L’Oeil Today is an essential reference for artists and designers working in trompe l’oeil and in search of suggestions or inspiration, interior architects and decorators looking for an outline of what can be done to create new and different ambiances, and clients who plan to commission a work. Over 150 four-color photographs illustrate the architectural and aesthetic impact of professional illusionistic work. Trompe L’Oeil Today is an invaluable survey of an impressive, popular art form.

Catalogue of an exhibition held at the National Gallery of Art, Washington, D.C., Oct. 13, 2002-Mar. 2, 2003.

The age-old tradition of pictorial illusionism known as trompe l’oeil (“deceive the eye”) employs visual tricks that confound the viewer’s perception of reality and fiction, truth and falsehood. This radically new take on Cubism shows how Pablo Picasso, Georges Braque, and Juan Gris both parodied and paid homage to classic trompe l’oeil themes and motifs. The authors connect Cubist works to trompe l’oeil specialists of earlier centuries by juxtaposing more than one hundred Cubist paintings, drawings, and collages with related compositions by old masters. The informed and engaging texts trace the changing status of trompe l’oeil over the centuries, reveal Braque’s training in artisanal trompe l’oeil techniques as an integral part of his Cubist practice, examine the material used in Gris’s collages, and discuss the previously unstudied trompe l’oeil iconography within Cubist still lifes.

Examines contemporary examples of trompe l'oeil murals by such artists as Richard Haas, Garth Benton, and Graham Rust.