2008 Woodie Awards
Promising lies, trompe l'oeil deceptively enlightening
Teresa Sites
Issue date: 2/12/03 Section: Arts and Entertainment
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by Teresa Sites
“Deceptions and Illusions: Five Centuries of Trompe L’oeil Painting” will leave even the most cynical viewer confused but enraptured. Unlike artistic styles that, through an image, characterize or describe something in actuality, trompe l’oeil, also called super realism, takes photographic realism to another level, creating illusions though representational images that look just like the real thing.
Questioning perceptual certainty, the trompe l’oeil artist’s success depends on the viewer briefly mistaking the image for the actual object. The art of trompe l’oeil, using imitation as an end, not a means, has persevered, in spite of being considered the lowest form of academic painting. Featuring works in topical groups ranging from the ancient Greeks to 21st century Americans, the show traces the evolution of the art of deception. Each section, fooling the senses by manipulating the perception of reality, challenges common conceptions of both the nature of reality and art.
Visitors swarm the gallery, daring trompe l’oeil to deceive. Initial confidence in sensory perception quickly and almost willingly gives way to the illusion before them. Raphaelle Peale’s celebrated Venus rising from the Sea — A Deception (After the Bath) typifies the confusion the trompe l’oeil prompts is viewers. The painting, a reaction to 19th century outrage at nude illustrations, spoofing James Barry’s Venus Rising from the Sea, depicts a virtual curtain, seeming to cover an image suggesting a lascivious female nude. Even the most perceptive were initially fooled, first confidently claiming authenticity, and only after frantically alternating their angle to consistently find light reflecting off a flat surface, finally admitted to their false impressions.
The entire exhibit offers similar opportunities for momentary deception in various ways, with sections such as “Grapes,” “Curtains,” “Xenia and Trophies of the Hunt,” “Temptation for the Hand,” “Niches Cupboards and Cabinets,” “Painting as an Object” and “The Object as Art.” Highlights and show favorites include George Henry Hall’s (1885) The Twins, depicting Chianti grapes; William Michael Harnett’s (1888) Mr. Huling’s Rack Picture, an assemblage; Pere Borrell del Caso’s (1874) Escaping Criticism, a boy jumping out of the picture; John Haberle’s (1895) The Slate, encouraging the viewer to “leave your order here;” and Jasper John’s 1964 Beer Cans, a sculpture of forged drinks.
“Deceptions and Illusions: Five Centuries of Trompe L’oeil Painting” will leave even the most cynical viewer confused but enraptured. Unlike artistic styles that, through an image, characterize or describe something in actuality, trompe l’oeil, also called super realism, takes photographic realism to another level, creating illusions though representational images that look just like the real thing.
Questioning perceptual certainty, the trompe l’oeil artist’s success depends on the viewer briefly mistaking the image for the actual object. The art of trompe l’oeil, using imitation as an end, not a means, has persevered, in spite of being considered the lowest form of academic painting. Featuring works in topical groups ranging from the ancient Greeks to 21st century Americans, the show traces the evolution of the art of deception. Each section, fooling the senses by manipulating the perception of reality, challenges common conceptions of both the nature of reality and art.
Visitors swarm the gallery, daring trompe l’oeil to deceive. Initial confidence in sensory perception quickly and almost willingly gives way to the illusion before them. Raphaelle Peale’s celebrated Venus rising from the Sea — A Deception (After the Bath) typifies the confusion the trompe l’oeil prompts is viewers. The painting, a reaction to 19th century outrage at nude illustrations, spoofing James Barry’s Venus Rising from the Sea, depicts a virtual curtain, seeming to cover an image suggesting a lascivious female nude. Even the most perceptive were initially fooled, first confidently claiming authenticity, and only after frantically alternating their angle to consistently find light reflecting off a flat surface, finally admitted to their false impressions.
The entire exhibit offers similar opportunities for momentary deception in various ways, with sections such as “Grapes,” “Curtains,” “Xenia and Trophies of the Hunt,” “Temptation for the Hand,” “Niches Cupboards and Cabinets,” “Painting as an Object” and “The Object as Art.” Highlights and show favorites include George Henry Hall’s (1885) The Twins, depicting Chianti grapes; William Michael Harnett’s (1888) Mr. Huling’s Rack Picture, an assemblage; Pere Borrell del Caso’s (1874) Escaping Criticism, a boy jumping out of the picture; John Haberle’s (1895) The Slate, encouraging the viewer to “leave your order here;” and Jasper John’s 1964 Beer Cans, a sculpture of forged drinks.