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Capsule is pleased to present Trompe L’œil, Anthony Iacono’s (b. 1987, Nyack, NY; lives and works in Philadelphia) second solo presentation with the gallery, opening on April 18 and on view through June 6, 2026.
Taking its title from the historical genre of illusionistic painting, Trompe L’œil engages as a game of perception, misrecognition, and the subtle mechanics of visual belief. The term—literally “to deceive the eye”—points to a long tradition in which painted surfaces masquerade as reality, staging moments of doubt between what is seen and what is inferred. A canonical example is Raphaelle Peale’s Venus Rising from the Sea, which is believed to be the first painting in American art to depict a nude figure—but Peale has only convinced us that this is a nude, as the viewer is able to access just glimpse of the partial figure. A handkerchief appears to drape over the image, tempting the audience to lift the veil and peek underneath—merely to discover that the illusion resides…
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Press Release
Capsule is pleased to present Trompe L’œil, Anthony Iacono’s (b. 1987, Nyack, NY; lives and works in Philadelphia) second solo presentation with the gallery, opening on April 18 and on view through June 6, 2026.
Taking its title from the historical genre of illusionistic painting, Trompe L’œil engages as a game of perception, misrecognition, and the subtle mechanics of visual belief. The term—literally “to deceive the eye”—points to a long tradition in which painted surfaces masquerade as reality, staging moments of doubt between what is seen and what is inferred. A canonical example is Raphaelle Peale’s Venus Rising from the Sea, which is believed to be the first painting in American art to depict a nude figure—but Peale has only convinced us that this is a nude, as the viewer is able to access just glimpse of the partial figure. A handkerchief appears to drape over the image, tempting the audience to lift the veil and peek underneath—merely to discover that the illusion resides…
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