illusionism

enUK

il·lu·sion·ism

I0039200 (ĭ-lo͞o′zhə-nĭz′əm) n. 1. Philosophy a. The doctrine that the material world is an immaterial product of the senses. b. The doctrine that free will is contradicted by determinism and is only an apparent phenomenon. 2. The use of illusionary techniques and devices in art or decoration.

il·lu′sion·is′tic adj. il·lu′sion·is′ti·cal·ly adv.

illusionism

(ɪˈluːʒəˌnɪzəm) n1. (Philosophy) philosophy the doctrine that the external world exists only in illusory sense perceptions2. the use of highly illusory effects in art or decoration, esp the use of perspective in painting to create an impression of three-dimensional reality

il•lu•sion•ism

(ɪˈlu ʒəˌnɪz əm)

n. a technique of using pictorial methods in order to deceive the eye. Compare trompe l'oeil. [1835–45] il•lu`sion•is′tic, adj.

illusionism

a theory or doctrine that the material world is wholly or nearly wholly an illusion. — illusionist, n. — illusionistic, adj.See also: Philosophy

Illusionism

enUK

illusionism,

in art, a kind of visual trickery in which painted forms seem to be real. It is sometimes called trompe l'oeil [Fr.,=fool the eye]. The development of one-point perspectiveperspective,
in art, any method employed to represent three-dimensional space on a flat surface or in relief sculpture. Although many periods in art showed some progressive diminution of objects seen in depth, linear perspective, in the modern sense, was probably first
..... Click the link for more information. in the Renaissance advanced illusionist technique immeasurably. It was highly developed in the baroque period; Caravaggio's bowls of fruit included insects to enhance verisimilitude. American masters of trompe l'oeil include William M. HarnettHarnett, William Michael
, 1848–92, American painter, b. Ireland. He emigrated to Philadelphia as a child; he first learned engraving and then studied painting at the Pennsylvania Academy of the Fine Arts and at the National Academy of Design and Cooper Union.
..... Click the link for more information. and John F. PetoPeto, John F.
, 1854–1907, American painter, b. Philadelphia. Largely self-taught, Peto worked in the exacting style of trompe l'oeil illusionism perfected by William Harnett.
..... Click the link for more information. .

Illusionism

imitation of the visible world in works of visual art; the creation of an impression of really existing objects and space.

Illusionism presupposes the visual effacement of the barrier between the conventional world of representation and actuality and their overlapping active interaction. It calls for the visual substitution or seeming destruction of the material substance (of which the work itself consists)—the flatness of the wall or the painting. Illusionism first appeared in the paintings of antiquity, played a noticeable role in Renaissance art, and became one of the main principles of monumental decorative baroque art (in baroque interiors the concrete architectural space merges with the illusory painted space that stretches into infinity). Illusionism is also seen in easel works—for example, in oil paintings, more rarely in graphics like the black and white “trick” still lifes of the 18th century and in F. P. Tolstoi’s watercolors in Russia.

Illusionism

a circus and variety art based on the use of such stage props as boxes with false bottoms and optical devices and on sleight of hand. The magician makes people and things appear and disappear and creates “magical transformations.” The art of illusionism is based essentially on optical illusion.

Conjuring began in antiquity, when priests created illusions. In the 17th and 18th centuries technicians performed “wonders,” based on mechanical devices, at fairs. In the 19th century H. Houdini performed in Paris and developed many of the principles of magic in use today. Twentieth-century magicians stage revues with difficult stunts and illusions, comic effects, and a more theatrical flavor.

Among the best-known magicians abroad are G. Pinetti and B. Bosco (Italy); R. Kefalo, Dante, and Taft (USA); A. and K. Herman (Germany); P. Ch. Sorkar (India); J.-E. Robert-Houdin (France); and Kalanag (Federal Republic of Germany).

Well-known Soviet magicians include E. T. Kio (Renard) and his sons, E. E. and I. E. Kio, Alli-Vad (A. A. Vadimov-Mar-kelov), Kleo Doreotti (K. G. Karasik), M. A. Marches, A. S. Shag, Van Tentau, and A. G. and R. M. Sokol.

REFERENCES

Kio. Fokusy i fokusniki. Moscow, 1958.
Kio. Illiuzionisty i “volshebniki.” Moscow, 1959.
Vadimov, A. Iskusstvo fokusa. Moscow, 1959.
Vadimov, A. A., and A. A. Trivas. Ot magov drevnosti do illiuzionistov nashikh dnei: Ocherki istorii illiuzionnogo iskusstva. [Moscow, 1966.]

IU. A. DMITRIEV

单词	illusionism
释义	illusionism enUK il·lu·sion·ism I0039200 (ĭ-lo͞o′zhə-nĭz′əm) n. 1. Philosophy a. The doctrine that the material world is an immaterial product of the senses. b. The doctrine that free will is contradicted by determinism and is only an apparent phenomenon. 2. The use of illusionary techniques and devices in art or decoration. il·lu′sion·is′tic adj. il·lu′sion·is′ti·cal·ly adv. illusionism (ɪˈluːʒəˌnɪzəm) n1. (Philosophy) philosophy the doctrine that the external world exists only in illusory sense perceptions2. the use of highly illusory effects in art or decoration, esp the use of perspective in painting to create an impression of three-dimensional reality il•lu•sion•ism (ɪˈlu ʒəˌnɪz əm) n. a technique of using pictorial methods in order to deceive the eye. Compare trompe l'oeil. [1835–45] il•lu`sion•is′tic, adj. illusionism a theory or doctrine that the material world is wholly or nearly wholly an illusion. — illusionist, n. — illusionistic, adj.See also: Philosophy Illusionism enUK illusionism, in art, a kind of visual trickery in which painted forms seem to be real. It is sometimes called trompe l'oeil [Fr.,=fool the eye]. The development of one-point perspectiveperspective, in art, any method employed to represent three-dimensional space on a flat surface or in relief sculpture. Although many periods in art showed some progressive diminution of objects seen in depth, linear perspective, in the modern sense, was probably first ..... Click the link for more information. in the Renaissance advanced illusionist technique immeasurably. It was highly developed in the baroque period; Caravaggio's bowls of fruit included insects to enhance verisimilitude. American masters of trompe l'oeil include William M. HarnettHarnett, William Michael , 1848–92, American painter, b. Ireland. He emigrated to Philadelphia as a child; he first learned engraving and then studied painting at the Pennsylvania Academy of the Fine Arts and at the National Academy of Design and Cooper Union. ..... Click the link for more information. and John F. PetoPeto, John F. , 1854–1907, American painter, b. Philadelphia. Largely self-taught, Peto worked in the exacting style of trompe l'oeil illusionism perfected by William Harnett. ..... Click the link for more information. . Illusionism imitation of the visible world in works of visual art; the creation of an impression of really existing objects and space. Illusionism presupposes the visual effacement of the barrier between the conventional world of representation and actuality and their overlapping active interaction. It calls for the visual substitution or seeming destruction of the material substance (of which the work itself consists)—the flatness of the wall or the painting. Illusionism first appeared in the paintings of antiquity, played a noticeable role in Renaissance art, and became one of the main principles of monumental decorative baroque art (in baroque interiors the concrete architectural space merges with the illusory painted space that stretches into infinity). Illusionism is also seen in easel works—for example, in oil paintings, more rarely in graphics like the black and white “trick” still lifes of the 18th century and in F. P. Tolstoi’s watercolors in Russia. Illusionism a circus and variety art based on the use of such stage props as boxes with false bottoms and optical devices and on sleight of hand. The magician makes people and things appear and disappear and creates “magical transformations.” The art of illusionism is based essentially on optical illusion. Conjuring began in antiquity, when priests created illusions. In the 17th and 18th centuries technicians performed “wonders,” based on mechanical devices, at fairs. In the 19th century H. Houdini performed in Paris and developed many of the principles of magic in use today. Twentieth-century magicians stage revues with difficult stunts and illusions, comic effects, and a more theatrical flavor. Among the best-known magicians abroad are G. Pinetti and B. Bosco (Italy); R. Kefalo, Dante, and Taft (USA); A. and K. Herman (Germany); P. Ch. Sorkar (India); J.-E. Robert-Houdin (France); and Kalanag (Federal Republic of Germany). Well-known Soviet magicians include E. T. Kio (Renard) and his sons, E. E. and I. E. Kio, Alli-Vad (A. A. Vadimov-Mar-kelov), Kleo Doreotti (K. G. Karasik), M. A. Marches, A. S. Shag, Van Tentau, and A. G. and R. M. Sokol. REFERENCES Kio. Fokusy i fokusniki. Moscow, 1958. Kio. Illiuzionisty i “volshebniki.” Moscow, 1959. Vadimov, A. Iskusstvo fokusa. Moscow, 1959. Vadimov, A. A., and A. A. Trivas. Ot magov drevnosti do illiuzionistov nashikh dnei: Ocherki istorii illiuzionnogo iskusstva. [Moscow, 1966.] IU. A. DMITRIEV
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