Trompe l'Oeil
Jean Etienne Liotard Swiss
Not on view
In a treatise published in 1781, Liotard firmly stated his belief in the supreme mimetic power of painting. His deceptive imitation of two chipped plaster reliefs “proves” that a painter can convincingly reproduce the appearance of sculpture (whereas a sculptor cannot reproduce the appearance of painting). Significantly, the imagery of the reliefs is derived from paintings, both by François Boucher. Liotard’s simulations of screws made of two different metals, the colored chalks of his two costume sketches, torn and crumpled paper, sealing wax, and pine are equally persuasive. The artist’s professional pride is captured in the seemingly casual signature and date “written” at the top of the faux panel.
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