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...reporter is disciplined for trompe l'oeil newscast...

Author: /time Magazine | Title: Winners & Losers: Feb. 28, 1994 | 2/28/1994 | See Source »

Nevertheless, Widowers' Houses is worth seeing, if only for the set design of Charles Morgan, which lavishly recreates the era of wrought iron garden furniture, trompe I'oeil marble trellises and crazy paving. And there are hints here and there of the Shaw who was yet to emerge--the wry cynic who could create dialogue such as this...

Author: By Ashwini Sukthankar, CONTRIBUTING REPORTER | Title: Engaging Production of Widower's Houses | 11/5/1992 | See Source »

...been detailed to stand beside the picture and suppress any attempts to take down the fiddle and the bow." To some, Harnett suggested a classical parallel. He was the American Zeuxis, the Greek painter (none of whose works survive) who was said to be so good at trompe l'oeil that birds flew down to peck the grapes in one of his still lifes, thus proving that he could bamboozle not only men but Nature herself. People loved Harnett's work because they felt he was a con man. To be fooled and know you are being fooled (along with...

Author: /time Magazine | Title: A Reliable Bag of Tricks | 5/11/1992 | See Source »

...most visible and palpable form of the Antique was stone. Sculpture afforded the model for painting, and Mantegna took its implications much further. Time and again, his paintings look like renderings of actual stone bas-reliefs, trompe l'oeil records of a scene carved by some imaginary dead hand. The figures and tent of Judith with the Head of Holofernes, circa 1495-1500, are painted with matte gray gouache on fine linen, but they seem at first glimpse to be actual stone. So little in art is new: what Mantegna was doing with this play of illusion...

Author: /time Magazine | Title: Art: A Genius Obsessed By Stone | 2/24/1992 | See Source »

...tried to eat them. Parrhasius outdid him, however, by fashioning a curtain that Zeuxis, mistaking for fabric, attempted to pull open. A long line of artists have since striven to equal Parrhasius' success by bestowing an illusory third dimension to flat, featureless walls and ceilings. Known as trompe l'oeil (fool the eye), the style reached its prime in the Renaissance and during the Baroque period, when painters embellished churches and palaces with imaginary soaring columns, weighty domes and clouded skies inhabited by plump putti...

Author: /time Magazine | Title: Design: Creating Grand Illusions | 12/10/1990 | See Source »

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