![]() ![]() Photographers such as Arno Minkkinen, Lilly McElroy, Abelardo Morell, Graham Howe, Michel Szulc-Krzyzanowski, Zeke Berman, Grant Mudford, and Pfahl play with the fundamental laws of optics, perspective, and vantage point to create spatial confusion and optical illusions. Most of the artists featured work in a straight, documentary-style manner, working without the use of overt darkroom manipulations or editing software to construct their illusions. The Art of Illusion is dedicated to John Pfahl (1939-2020), whose works are featured in the exhibition and who died of complications due to COVID early in the pandemic. “Many of these photographers have a wry and witty sense of humor, which is evident in the works themselves.” “It is great fun to view these works up close, to try to figure out how these photographs were made, and decipher what the artists are trying to convey about photography and its relationship to physical reality,” said April M. ![]() Others maneuver the camera’s optical and technical controls, creating clever visual puzzles that toy with our understanding of space, scale, and distance. Many of the artists use photography in combination with painting, drawing, or sculpture, fabricating subjects to be recorded by the camera. The majority of works included in this exhibition date from 1970 to the present. That relationship, as understood in photographs, is not always obvious.” “Seeing and believing have important correlations that impact our notions of truth and reality. and Mary Louise Blackwell CEO & Director of the Nelson-Atkins. “The photographs in Art of Illusion provide engaging opportunities to consider the ways we form our perceptions of the world through photographs,” said Julián Zugazagoitia, Menefee D. Art of Illusion: Photography and Perceptual Play, curated by April Watson, is comprised of more than 50 photographs from the museum’s permanent collection, many of them recent acquisitions and never before on view. She shows how Van Hoogstraten exploited the court patronage system to secure the worth of his work in the newer market culture of the Dutch Republic.īrusati explores Van Hoogstraten's use of illusionistic artifice in his art and writing to shed new light on the much-disputed nature of Dutch "realism", and she discusses how a notion of "experimental artistry", which linked representational craft to the production of knowledge, informed Van Hoogstraten's many projects and framed the terms within which he and his colleagues understood artistic achievement during this period.Kansas City, Missouri – Does photography accurately reflect the things we see? Or does it merely present illusions? Those are the central questions explored in an exhibition opening this fall at The Nelson-Atkins Museum of Art in Kansas City. Brusati looks at the historical circumstances of van Hoogstraten's career, which he fashioned from a convergence of Dutch cultural practices, family genealogy, and his considerable entrepreneurial acumen. ![]() In this book, Celeste Brusati looks at the art, writing, and career of this multi-faceted artist.Īnalyzing van Hoogstraten's painting treatise, illusionistic pictures, ingenious perspective boxes, and witty trompe-l'oeil images, Brusati reveals the crucial role these endeavors played in the forging of van Hoogstraten's professional and social identity. Samuel van Hoogstraten is familiar to scholars of Dutch art as a talented pupil and early critic of Rembrandt, and as the author of a major Dutch painting treatise. Artifice and Illusion: The Art and Writing of Samuel van Hoogstraten ![]()
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