Word: oeil
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Dates: during 1970-1979
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...things. This sense of reality and tangibility, says Cooper, had been lost to French painting in the late 19th century, amid the theorizing of the Symbolists and the opalescent shimmers of Impressionism. In classical art the aim is to represent a real world: but in this trompe-l'oeil reality, the thing which is not real is the painting itself. The canvas dissolves and contradicts its own nature as a two-dimensional surface; it becomes a window opening on a view. The Cubists proposed to construct an undivided reality that would involve no such fictions: to put a tangible...
Mather has no artwork, either. Although Carlhain designed some genuinely imaginative art for the House (an enormous clock to fit inside the library's circular staircase, a huge dining hall mural spewing skim milk from trompe l' oeil spouts), all of it was eliminated in the budget trimming which also deprived the student rooms of carpeting and closet doors. Noise pollution, too, is a problem: there is no division between bedrooms in the doubles, and it has been suggested that at Mather, the sound of one hand clapping in the Dining Hall can be heard in the Junior Common Room...
Rustic Trompe I'Oeil. The results of this technique, at least when Porter was painting, were fresh and simple, but they were marked with the authoritative vision of a minor master. With great tact, Porter blended Hawaiian volcanoes and exotic foliage with views of neat New England farms and valleys. The murals he painted in 1838 for Dr. Francis Howe in Westwood, Mass., are typical. Simple devices create perspective: the arc of a hill, an angled fence, the diminishing height of trees. The viewer feels that he has actually stepped into the landscape. Porter's murals customarily covered...
...perceives them. Poison daggers, animals' heads, all the exotic furnishings of Frederique's house in St. Tropez assume an irrational importance because Why, like a child, has an experience limited to that home. The content and mode of her experience dictate. like the phenomenology of voyeurism in L'Oeil du Malin and the phenomenology of emotion in La Femme Infidele. the actions of the protagonist...
Next he began picking up objects and juxtaposing them with the painted canvas. His use of the object can be seen as something of a contemporary parallel to the 19th century American still-life painters Peto and Harnett, who in their trompe-ľoeil arrangements of everydayobjects anticipated many of the same concerns that preoccupied the new realists of the 1960s. One Dine's most successful "combines" is a 1962 work in which an actual lawnmower is mounted in front of the canvas. Green paint clings to the blades like bits of fresh-cut grass, while the handle guides...