Contenido

Tras su utilización en la decoración mural de las viviendas acomodadas romanas, el ilusionismo arquitectónico pompeyano dejó de ser una técnica usada por los pintores.

La pintura medieval, hasta el siglo , ignoró la perspectiva cónica y la representación de la tercera dimensión de las figuras. Su entorno se realizaba de forma ingenua o primitivista,.

El descubrimiento de las leyes de la perspectiva (regula albertiana"))[11]​ en la Florencia del humanismo quattrocentista, impulsó el uso de los trampantojos. Los primitivos flamencos, sin tal vertiente intelectual, desarrollaron simultáneamente la representación de la tercera dimensión sobre la base de técnicas artesanales (espejos y quizá cámara oscura) también presentes en Italia.[12]​.

Desde las décadas centrales del siglo , el Manierismo se interesó particularmente en la concepción equívoca de los espacios y las perspectivas. El Barroco llevó esas especulaciones formales a extremos notables.

Contemporary Age

Some artists of exceptional imagination, such as Piranesi in the 20th century (era of visionary architecture) and Escher in the 20th century (era of surrealism), have used perspectives in such a way that they falsify the very concept of visible reality. Stairs,[14]​ widely used by both (in Escher, reversing their meaning in a strangely plausible, but impossible way), are a common resource in trompe l'oeil, due to their complexity (lines and planes projecting and rotating in space). Its dynamism has also been used in cinema: the Odessa stairs in Battleship Potemkin by Sergei Eisenstein, those used recurrently by Alfred Hitchcock or the mobile phones of Hogwarts School in the Harry Potter film series.

Urban decoration, which began to use trompe l'oeil in the Renaissance (especially in the ephemeral architecture of the Baroque) continues to use it, both in its regular-institutional aspect (Richard Haas"))[16]​ and in its irregular aspect. This concept is used by more or less spontaneous street artists, such as Julian Beever, Banksy or Zilda").[17]​.

While the performing arts have since Antiquity used auxiliary trompe-l'oeil resources in their scenography (such as the harlequin cape "manteau d'arlequin")"),[18]​ photography and cinema are in themselves resources to produce a visual deception or feigning of reality; that is, a trompe l'oeil. The same thing happened with what were its technical ancestors, such as the camera obscura or the magic lantern. It is true that, understood as arts in themselves, they use trompe l'oeil to obtain certain images that produce particular illusionistic effects beyond the generic one on which they are based. In fact, forced perspective is a widely used photographic technique.[19]​.

Trompe l'oeil has also been used profusely in cinema until the appearance of digital special effects. From simulating an outside view through a window in scenes shot on interior sets, to simulating an entire "grand" exterior set.

A common method (matte in English) was to paint the "big" exterior (cities, sky, etc.) on a wooden board of a few meters that was placed relatively close to the camera (but taking up only part of the frame), while the real scene took place further away and taking up the rest of the camera frame; Thus, by matching the edge of the painted trompe l'oeil with the real scene, the effect was that everything took place on a large stage whose construction cost would have been prohibitive. You could even have the entire set as a trompe l'oeil, occupying the entire frame and only through a gap in it would the real scene take place. It could be said that in cinema, to achieve this optical illusion effect, elements such as the scale of the different elements that make up the perspective are played with, as well as the distance from the camera to the filmed object and the depth of field.

A variation is the Schüfftan method (by its inventor Eugen Schüfftan),[20] in which a partially transparent mirror was placed in front of the camera, without part of the reflective film. In the mirrored part the trompe-l'oeil was reflected and through the transparent part the real scene took place.

Contenido

Tras su utilización en la decoración mural de las viviendas acomodadas romanas, el ilusionismo arquitectónico pompeyano dejó de ser una técnica usada por los pintores.

La pintura medieval, hasta el siglo , ignoró la perspectiva cónica y la representación de la tercera dimensión de las figuras. Su entorno se realizaba de forma ingenua o primitivista,.

El descubrimiento de las leyes de la perspectiva (regula albertiana"))[11]​ en la Florencia del humanismo quattrocentista, impulsó el uso de los trampantojos. Los primitivos flamencos, sin tal vertiente intelectual, desarrollaron simultáneamente la representación de la tercera dimensión sobre la base de técnicas artesanales (espejos y quizá cámara oscura) también presentes en Italia.[12]​.

Desde las décadas centrales del siglo , el Manierismo se interesó particularmente en la concepción equívoca de los espacios y las perspectivas. El Barroco llevó esas especulaciones formales a extremos notables.

Contemporary Age

Some artists of exceptional imagination, such as Piranesi in the 20th century (era of visionary architecture) and Escher in the 20th century (era of surrealism), have used perspectives in such a way that they falsify the very concept of visible reality. Stairs,[14]​ widely used by both (in Escher, reversing their meaning in a strangely plausible, but impossible way), are a common resource in trompe l'oeil, due to their complexity (lines and planes projecting and rotating in space). Its dynamism has also been used in cinema: the Odessa stairs in Battleship Potemkin by Sergei Eisenstein, those used recurrently by Alfred Hitchcock or the mobile phones of Hogwarts School in the Harry Potter film series.

Urban decoration, which began to use trompe l'oeil in the Renaissance (especially in the ephemeral architecture of the Baroque) continues to use it, both in its regular-institutional aspect (Richard Haas"))[16]​ and in its irregular aspect. This concept is used by more or less spontaneous street artists, such as Julian Beever, Banksy or Zilda").[17]​.

While the performing arts have since Antiquity used auxiliary trompe-l'oeil resources in their scenography (such as the harlequin cape "manteau d'arlequin")"),[18]​ photography and cinema are in themselves resources to produce a visual deception or feigning of reality; that is, a trompe l'oeil. The same thing happened with what were its technical ancestors, such as the camera obscura or the magic lantern. It is true that, understood as arts in themselves, they use trompe l'oeil to obtain certain images that produce particular illusionistic effects beyond the generic one on which they are based. In fact, forced perspective is a widely used photographic technique.[19]​.

Trompe l'oeil has also been used profusely in cinema until the appearance of digital special effects. From simulating an outside view through a window in scenes shot on interior sets, to simulating an entire "grand" exterior set.

A common method (matte in English) was to paint the "big" exterior (cities, sky, etc.) on a wooden board of a few meters that was placed relatively close to the camera (but taking up only part of the frame), while the real scene took place further away and taking up the rest of the camera frame; Thus, by matching the edge of the painted trompe l'oeil with the real scene, the effect was that everything took place on a large stage whose construction cost would have been prohibitive. You could even have the entire set as a trompe l'oeil, occupying the entire frame and only through a gap in it would the real scene take place. It could be said that in cinema, to achieve this optical illusion effect, elements such as the scale of the different elements that make up the perspective are played with, as well as the distance from the camera to the filmed object and the depth of field.

A variation is the Schüfftan method (by its inventor Eugen Schüfftan),[20] in which a partially transparent mirror was placed in front of the camera, without part of the reflective film. In the mirrored part the trompe-l'oeil was reflected and through the transparent part the real scene took place.