Seventeenth-Century Art and Illusionism - Essay Example

Seventeenth-Century Art and Illusionism Introduction The artist of the seventeenth century adopted a style that saw introduction and application of unique styles within their pieces. With the aspect of illusion, the pieces had been completed to accord a distinct character and differentiate the contents and style from the previous regime. The styles developed meant a unique piece created to be differentiated from the pieces in the previous century. The developments saw introduction and development of new styles that evoke separate emotions in the audience to provide the ventures needed to develop a unique method. The illusionistic style that had been developed presented a different angle to the viewer to deter from the usual pieces known to predict some societal events. Some of the paintings in the seventeenth century had been based on the Ostentatious Illusionism. The concept saw the application of an illusion style that had been meant to cause impressionism in the minds of the viewer. The concept saw inclusion of visual elements that cause an impression that saw critical elements that defined the composition. The seventeenth century paintings had been based on the aspect of visual illusion and distortion of elements to suit the provision of delivering a composition that contain the illusionistic elements (Stella 1986, p28). Moreover, Christianity had influenced the period and artists were under the authority of the church to create pieces that depicted the religious forms. The seventeenth century art had mostly been based on the two styles of illusionism and realism that saw the development of outstanding pieces mostly ceiling paintings that had been commissioned by the church. The style saw the influence in art across Europe, particularly in the Baroque period and the paintings by some famous Dutch artists. The style that had been dubbed Ostentatious illusionism saw a massive contribution to the development and creation of the seventeenth-century paintings and influenced various artists in differentiated ways. Baroque The seventeenth century witnessed the development of elements to derive the component of illusion to develop the known Baroque style. The period had been marked by the discoveries in the scientific technology and numerous religious developments that saw the enhancement of a style that held numerous techniques. The illusionism created in the Baroque era had been the response derived by the artists of the technique to develop the perception criteria (Stoichit?a? 1997, p117). Art pieces needed to hold more effects and meaning to the viewer and bear added literal definition. The artists managed to create forms that had structures meant to create an outstanding effect to the perception that meant the application of a unique illusionistic style. Within the baroque style, trompe l’oeil painting style had been developed to highlight the illusionistic effects. Within the Baroque style, the outstanding style that had been developed saw the development in the illusionistic ceiling paintings. In the style, the developed techniques saw illusion develop in the theme of di sotto in su and the renowned quadrata techniques of completion in paintings. With these forms, the style developed saw the inclusion of an outstanding perspective element that distorted the ceiling paintings to appear to have an extended dimension. The style saw the development of a three-dimensional illusion within a developed two-dimensional surface. The other illusionistic forms developed the perspective element and invention of trompe l’oeil that advanced the distortion element within paintings in the seventeenth century (Peucker 2007, p9). The style witnessed the increased definition of concepts to include an added meaning to the completion of works. The church grew more interested in the artistic influences and sought to incorporate illusion within the pieces created. The artists chose to adopt the illusion technique in Baroque to intrigue the viewer and enable the church to spread the needed information and accommodate the reformation and spiritual fulfilment that had been the leading motive in the development of the style. Annibale Carracci developed the concept of space manipulation to derive continuity within the forms he had created. Apart from Carracci, Caravaggio also contributed to the development of the Baroque style to incorporate the illusionistic style in the completion of their pieces. The style sought to combine the humanistic elements within the dominance of Catholicism and enhancement of classic mythology. It had been through the illusion of the forms created that the technique could be stressed on more effectively. The forms created in the style achieved the distortion of the forms that had been randomly placed and not limited to the frame. The other aspect saw the inclusion of a painting style that observed the use of clouds carefully placed to outline continuity that had been evident in the natural form (Stoichit?a? 1995, p77). The forms found the arrangement that complemented the inclusion of the technique applied to develop paintings that resembled the period. However, an added from of illusion had been developed in the complete church of St. Philip Neri stressing on the di sotto in su concept. Di sotto in su The technique observed the relationship of forms that meant to view a painting from below in the Italian language. The technique advanced in the seventeenth century developed in the Quattrocento era from paintings from Melozzo and Mantua. Melozzo da Forli had developed the concept strongly to invent a style that had been developed into Melozzo’s perspective. The style applied the concept that saw the development of frescoes that had been above the viewer with the illusion of holding an architectural vanishing dimension. Andrea Pozzo's painting of the dome at Sant'Ignazio depicted the example of the concept through the painting of the fresco on a slightly concave area to accord the illusion of a greatly created depression. Moreover, Andrea Mantegna developed an advanced form of the illusionistic style through the painting he made o the ceiling of Camera degli Sposi. The style had been extended to the Baroque style that greatly influenced the composition of the pieces within the seventeenth century (Grootenboer 2005, p57). The concept had been developed to convince the viewer of an illusionistic continuity. The painted spaces looked open and served to lead the viewer into generating a perception that saw development of a strong perspective that held a field focal point. The painted subjects seemed to vanish into a further region that disappeared into a dynamic background. Quadrata Baroque artists picked the style to create an advanced open in the spaces and present the condition that created more room within the completed forms. The style that had been related to Italian ceiling pieces whose sole focus saw the inclusion of perspective elements and manipulation of the architectural spaces created (Rembrandt Harmenszoon & Wetering 2005, p14). The technique had been applied to incorporate the combination of architectural forms with perspective through painting that projected continuity within the accorded space. The artists who applied the technique applied the process on a flat or slightly curved surface that saw the inclusion of the painting to extend within the architectural form to create the continuity. The provision to create an intense distortion of the forms developed the concept that held illusion that presented instant recession or an opening within the clouds. The ceiling compositions could complement the existing statues and lead to the progression of the feeling that would influence opening of the sky. This example could be witnessed in Andrea Pozzo’s creation of the ceiling that had been located in Jesuit Church at Vienna. The concept applies linear perspective on an extended dimension to accord the relationship between sculpture, the paintings created and the architectural forms. With the development of the piece, the effect generated is noticeable in a single perspective that delivers the visual impression of continuity. The other example of the application of the technique had been realized in Allegory of Divine Providence and Barberini (1633-39). Pietro had painted the forms to reflect the noticed style that created the illusion of the combination of the forms, to deliver the effect that saw the link between the structural feature and painting. This style achieved the needed illusionism that had been characterized by the development of the Baroque period. Trompe l’oeil The term had been developed from the French language to present the illusion that saw application of the painting elements that developed the three dimensional composition. The style had been first developed before the Baroque period and saw application in the completion of the majority of the murals. The style had been developed to suggest the application of a confined form to represent a wider dimension. With the understanding of the concepts, the painters who had developed the style adopted the concept during the Baroque era. This saw the application of the foreshortening style within the ceilings to enable the viewer to perceive the forms from below the painting (Bendiner 2005, p24). The style managed to achieve the concept that deployed the vision element from a differentiated perspective to obtain a three dimensional effect within a flat platform. The forms had been given a dimension to represent a stable platform that shaped the elements into differentiated concepts. Both di sotto in su and quadrata had been forms of the style each presenting a defined form that utilized unique painting style. The artists accorded the manipulation of the forms and the concept of reality to define a noticeable boundary between the elements. The style had been characterized by defined images as in the example of a person climbing out of the frame, like in the piece Escaping Criticism by Pere Borrell del Caso (Hollander 2002, p72). The realization had been placed in the desire for humanity to perceive the mysterious elements and the illusionistic element offered the value that saw the creation of a separate style. The perspective theories that had been advanced in the century saw the inclusion of the defined style that had witnessed the manipulation of architectural illusion. The style enabled the artist to create space through manipulating the images to generate an illusion form that applied extension of the dimension. The paintings had been outstanding that they challenged the viewer to articulate differentiated styles mistaking forms for real compositions. Jesuit churches saw the application of the technique that had managed to manipulate the spaces and create added room. The concept had also been applied to depict three-dimensional forms within a flat space through painting images to be juxtaposed on the surface. The style created the illusion of a real picture that seemed to depict a photographed image within a flat surface and distinctively completed using the elements of perspective. The painting that depicted the form had been the completion of the piece in Painter with a Pipe and Book completed by Gerard Dou. Anamorphosis The style had been developed to offer a style of distortion and perspective that had prompted the viewer, to apply unique devices and technique to reconstruct the perception of the image into an accurate observation. The distortion of the forms had been carefully arranged that the actual image could be retrieved in a separate dimension. The viewer had to apply unique style and developed elements to reconstruct the images to accord the desired view that had been realized to view the appropriate completion. The term had been developed from a Greek term that resembled the ability to transform images. The development of the style had been characteristic of the seventeenth century optical illusion elements that had achieved perspective. The drawing manuals of the seventeenth centuries had been developed from the attribute that witnessed the intuition of Leonardo da Vinci. The mirror and perspective forms had been the established forms in style and each saw a different element needed to produce the corrected image. In mirror, the aspect involved transformation through applying the incentive of a reflection device to correct the image (Harris 2005, p187). An example had been in the painting by Hans Hobein in which a distorted image runs diagonally in the painting of the Ambassadors (Holbein & Ba?tschmann 1997, p101). When the image is corrected in a defined platform, the realization is accorded of the image of a skull. The style had been combined with the architectural forms to deliver the effect realized to distort the realistic component of forms. The combination of distortion within the surface that contained the element witnessed inclusion of an illusion (Varini & Lo?pez-dura?n 2004, p132). The viewer could not be able to differentiate the painting from the architectural piece because there had been a unity achieved to offer continuity (Bergin & Speake 2004, p15). The illusion in the ceiling of St. Ignazio church as completed by Andrea Pozzo issued the illusion. He had been commissioned by the church to construct the effect of a dome within the already constructed platform. This saw the application of the sharp perspective that saw the inclusion of forms disappearing within the focal point to create the distortion. The viewer is involved in a series of illusions that enable the lack of differentiation in the elements and the actual painting. The painting had been finished to look like a curvature, but the provision saw the inclusion of the elements within a flat surface. The completion of the distortion of image accorded the period a differentiated style that considered the application of observation in a varied perspective to issue the visual effect. However, the paintings did not fail to include their purpose of creation as the composition included images that reflected the element of Catholicism. The subjects of the paintings favoured the style, and inclusion of forms complemented the styles. Most of the forms in the ceiling contained images of angels and heavenly forms mostly depicted as disappearing into the clouds. With these developments in the Baroque style, the artists managed to combine the architectural forms with the sculpture through the illusion in painting. The colours applied in the completion of the pieces had been vibrant with the elements placed to complement the images developed. The application of forms that presented clarity in the tone and texture offered an ornamental finish (Brusati 1995, p64). The style presented vibrant energy and movement on the forms to accord the distortion that defined the Baroque system. The application of Chiaroscuro and careful application of light contributed to the achievement of the perspective realized within the style. Naturalism The concept saw the development from the directive of Caravaggio who sought to advance the style from the commonly recognized painting elements. Most of the artists of the seventeenth century had been focused on the element of presenting images as they had appeared. However, the style sought to pick n the concepts of nature and develop the intricate elements to be viewed with the viewer. The artists had been tasked with the responsibility of offering a direct relation with the elements that had been available on the societal setting. The artists who observed the style observed the natural elements to accord the reflection needed to accord the desired definition that had been related to the existing forms. The style sought to capture the details of the forms within the real setting to accord a definite shape, size and relationship of the forms. The distortion that had been evident in the forms in the style had been adjusted to offer resemblance to the actual objects in the natural setting. The representation had been accorded the form to present a religious entity that developed the satisfactory competition to the forms existing in nature. The Lute Player by Michelangelo had been developed based on the representation of the natural elements to issue the definition needed to accord the relationship of natural elements within the painting (Giorgi 2008, p12). The artists of the style offer the application of the forms within the dimension of the reality existing within the actual context. The movement applied the mimesis style to combine with the illusionistic aspect that developed the combination of aspects to dwell on the representation of intense reality. The result developed the attribute that produced the relationship with the actual image and establish a stronger relation that the viewer would fail to recognize the actual object. Naturalism accorded the rendering of forms that experimented the concept of developing the resemblance of all the physical components that created realism. The artists manipulated colour and forms to accord the result that had been noticed to contribute to a stable relationship that delivered familiar forms. The paintings either contained natural compositions in plants that were supplemented with forms or applied the inclusion of a careful study of the human form. The result accorded the balance that leads the viewer to relate the finished composition to an actual image. Conclusion The application of the illusion elements in the seventeenth century saw manipulation of forms to accord the unique result characteristic of the era. The majority of the application had been noted in the Baroque era that saw inclusion of religious compositions within the pieces Artists applied the varied technique of space manipulation and perspective to create the illusion witnessed. These creations developed a magnificent style created in the century to define the identity as noticed in the ceiling compositions. Through the leading style in trompe l’oeil, the development had been realized in the developed illusionism within the seventeenth century paintings. List of References Bergin, T. G., & Speake, J. (2004). Encyclopedia of the Renaissance and the Reformation. New York, Facts On File. Bendiner, K. (2005). Food in painting: from the Renaissance to the present. London, Reaktion Books. Brusati, C. (1995), Artifice and illusion: the art and writing of Samuel van Hoogstraten. Chicago [u.a.], Univ. of Chicago Press. Giorgi, R. (2008). European art of the seventeenth century. Los Angeles, J. Paul Getty Museum. Grootenboer, H. (2005). The rhetoric of perspective: realism and illusionism in seventeenth-century Dutch still-life painting. Chicago, University of Chicago Press. Harris, A. S. (2005). Seventeenth-century art and architecture. London, King. Holbein, H., & Ba?tschmann, O. (1997). Hans Holbein. London, Reaktion Books. Hollander, M. (2002). An entrance for the eyes: space and meaning in seventeenth- century Dutch art. Berkeley, University of California Press. Peucker, B. (2007). The material image: art and the real in film. Stanford, Calif, Stanford Univ. Press. Rembrandt Harmenszoon Van rijn, & Wetering, E. V. D. (2005). A Corpus of Rembrandt paintings. 4, the self portraits. Dodrecht, Springer. Stella, F. (1986), Working space. Cambridge, Mass, Harvard University Press. Stoichit?a?, V. I. (1997). A short history of the shadow. London, Reaktion. Stoichit?a?, V. I. (1995). Visionary experience in the golden age of Spanish art. London, Reaktion books. Varini, F., & Lo?pez-dura?n, F. (2004). Points of view. Baden, Mu?ller. Read More