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Seventeenth-Century Art Royalty and Riches - Essay Example

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Name Professor Course Date 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…
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Seventeenth-Century Art Royalty and Riches
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Seventeenth-Century Art Royalty and Riches

Download file to see previous pages... 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 ...Download file to see next pagesRead More
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