They no longer risk deceiving many people when deployed in this way. Bringing together eighty trompe-l'oeil artists doesn't mean depriving them of their power of illusion? This is the first pitfall of this exhibition which could hardly have done otherwise. The second obstacle, again unavoidable, is the space of the Marmottan Museum, a former private mansion too small to develop a subject which was fully treated in 2012 by the Museum of Decorative Arts through some four hundred objects [1].
- 1. Anonymous, Northern Germany
Cabinet with bottles and booksaround 1520 – 1530
Oil on wood – 106 x 81 cm
Colmar, Unterlinden Museum
Photo: Musée Unterlinden / Ch. Kempf
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See the image on his page
However, the first room announces it straight away: the discussion is not intended to be exhaustive. The project started from the collection of Jules and Paul Marmottan, father and son, who had a shared taste for trompe l'oeil and acquired several; some are presented on this occasion and supplemented by numerous loans. The route, both chronological and thematic, begins with one of the oldest paintings of the genre painted around 1520-1530, which shows a pretend cupboard, one of the doors of which is open (ill. 1); it ends with Daniel Spoerri, who died last November, famous for his “trap paintings” which capture the remains of a meal, dishes, crumbs, cigarette butts, napkins…
- 2. Cornelis Norbertus Gijsbrechts (1649-après 1676)
Trompe l'oeil1665
Oil on canvas – 59 x 56 cm
-Paris, Marmottan Museum
Photo: Musée Marmottan / Studio Ch. Baraja SLB
-
See the image on his page
In the 17th century the whatever – a jumble of sorts, which means in the narrow sense “whatever pleases” – is a particularly popular motif. The painters depict a carefully organized disorder, representing strips nailed to boards, responsible for retaining objects – letters, besicles, engravings, crumpled papers – which can…
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