In Masacchio’s work, the illusion of a barrel vault ceiling behind the figure of God complements the design of the interior of the space that houses the painting. It was not until Masacchio painted the Trinity, 142728, that architectural illusions appeared within paintings. ![]() The earliest examples of the art of illusion occur in the paintings of architectural elements that surround the frescos in Medieval churches. ![]() The realization on the part of the viewer that he or she had been fooled, was a disruption and an intrusion of the sense of harmony that was valued in Renaissance art. In so doing, the illusionists undermined the humanistic ideals of the Renaissance. The Renaissance artists were primarily interested in creating compositions that, with the use of perspective, would visually illustrate harmony, proportion, and unity while the illusionists were intent on creating deliberately deceptive glimpses of reality. However, the use that realism was put to marks the major difference between the two types of artists. Both used the rules of perspective and direct observation of nature to render figures and objects on a flat surface as threedimensionally as they could. ![]() The artists of illusion shared the concern of the mainstream of Renaissance artists in presenting scenes as realistically as possible. The art of illusion, or trompe l’oeil, as it is more commonly known, presents a scene in order to fool the viewer into mistaking it for reality.
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