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Op Art " Color Interaction" " " Color perception " J.Albers Yale 1952.
Op-Art, " 'Color Interaction" "Color perception " J.Albers Yale 1952.
a closer look at the correction of the earlier erroneous concept of Simultaneous Contrast includes the correction of Simultaneous Presence, where one color next to another color has established rules given proof to the issue of RGB. These are scientific sets of knowledge that emerged in 1952 in what is called the modern color theory noted in J.Albers original color booklet title 'Color Interaction', Yale 1952. Op Art as a coined word was bantered around in New York to explain these works of art that incorporated these sets of ideas of established new knowledge, not the ignorance of Varsely or Bridget Riley who basically never seemed to figure out this stage of knowledge. The black (erroneous) and white images above come from scientific studies of the 1800's which did not factor in that black as color does not exist and the above examples were proven to be merely darker whites. One of the more important proof functions not mentioned above was my masters discovery published in the original Color Interaction booklet is the painting 'Yellow Diamonds'-1952, a concept called the Doublen or Reverse After-Image, now more easily discovered in many Psych 101 text books which is the proof proving that RGB is a Color Theory while relegating the Subtractive Color theory to having no functional color wheel proof just the doings of vacant headed civilizations confronting issues of mineral pigments mixing. In the mid sixties when Op Art was to be celebrated the fools at MOMA knowing nothing much decided to toss the 1800 black and white in with the mix. Before long the ignorant of art knowledge of Varsely or Riley types got included to be called op art too. Calling them visualists of stupidity would have been more apt.
here is an explanation of color knowledge by the actual Father of OP Art.
"Color perception is affected by:
1. Each colored surface’s ability to absorb or reflect some or all of the light it gets
2. The color bias of the light striking the colored surface
a. The color bias of the primary source of the light
b. The modified color bias of reflected light
3. The constant oscillation and strobe of the eye
4. The degree and kind of contrast with nearby colors – Contrast Reassignment
5. Simultaneous Contrast of adjacent large color areas
6. The direction and degree of displacement of the perceptual spectrum based on the predominant color bias of the ambient light and the major color in the visual field."
~ Hal Rogoff" a arte da ilusão de ótica"
:
AS IMAGENS DESTA GALERIA ESTÃO TODAS RIGOROSAMENTE PARADAS. NO ENTANTO, PARECEM MOVER-SE! COMO É POSSÍVEL? O QUE ENGANA O OLHO E O CÉREBRO CRIANDO ALGO QUE NA VERDADE NÃO EXISTE?
Os raios de MacKay
Essa ilusão de ótica foi criada em 1957 pelo neurocientista Donald MacKay do King’s College de Londres. Concentrando o olhar no centro da imagem tem-se a sensação de um movimento nas zonas mais externas do desenho. Segundo estudo feito pelo Barrow Neurological Institute do Arizona, a ilusão de movimento é criada por micromovimentos oculares chamados “movimentos sacádicos” que acontecem durante a observação da imagem: o olho humano pode produzir cerca de 500 desses movimentos por segundo.
O mistério de Enigma
observando-a, tem-se a ilusão que milhares de minúsculas partículas, quase invisíveis, se movam a partir de círculos concêntricos. Segundo os especialistas da visão humana, o olho, durante a observação, gera pequenos deslocamentos geométricos nas partes periféricas da imagem: as diferenças de cor e contraste provocadas por essas microdistorções produziriam o efeito de movimento, um tanto como acontece com as pequeninas lâmpadas de Natal, que acendem e apagam dando a ilusão de se mover.
Giro das espirais
Atenção para não ficar hipnotizado por essa imagem: ela é uma versão potencializada de “Enigma” (ver foto precedente) realizada por Akiyoshi Kitaoka, um cientista da visão da Ritsumeikan University de Quito, Japão. Segundo Bevil Conway da Harward Medical School, os estímulos provenientes de diversos contrastes de cor enganam o córtex cerebral enviando-lhe sinais similares àqueles produzidos pelo movimento.
A arte do movimento
Bridget Riley é uma das principais expoentes da op-art, muito hábil para criar obras que aproveitam os micromovimentos dos olhos. a ilusão poderia ser explicada também pelo fenômeno do acomodamento do olho, ou seja, a capacidade de focar o objeto observado. As variações de acomodamento poderiam ser uma causa concomitante do efeito de movimento gerado por essas imagens.
Roda pião, bambeia pião
O efeito de movimento se amplifica quando movemos a cabeça para frente e para trás, enquanto observamos a imagem. Esses efeitos desaparecem se a imagem for observada através da pupila artificial, um instrumento que impede as acomodações do olho. Isso demonstraria que os micromovimentos gerados pela op-art são realmente fruto desse fenômeno.
Ilusão? Sim, não, talvez
Existem ilusões de ótica que não desaparecem nem quando observamos a imagem através da pupila artificial: uma dessas é esta ilusão criada pelo artista Pinna, cujo efeito de movimento pode ser observado aproximando e afastando a cabeça da tela do computador. Quando fazemos esse movimento, que desloca fisicamente a imagem na nossa retina, ocorre uma intervenção do cérebro que analisa o deslocamento e que faz que o percebamos como nosso, e não como do objeto. Esse sistema de compensações intervém sobre a imagem na sua totalidade e não sobre os elementos isolados que a compõem: a ilusão seria então uma espécie de “resíduo” desses movimentos.
Quadratura do círculo
Experimente mover a cabeça para frente e pra trás enquanto observa essa ilusão criada pelo círculo e o seu fundo parecem deslocar-se de movo independente um do outro.
Arte e neurociência
A op-art cria interações de formas e de cores para enganar o olho e o cérebro e dar vida a imagens realmente espetaculares e hipnóticas. Para realizar obras desse tipo é necessário conhecer com precisão a fisiologia do olho e os mecanismos cerebrais que regulam a visão: muitos artistas que se dedicam a esse campo são também neurocientistas.
9 Neurônio versus neurônio
Nela se “veem” ao mesmo tempo duas rotações em sentido oposto. O efeito surge, provavelmente, do conflito perceptivo que se cria entre dois tipos diversos de neurônios presentes no córtex visual primário: a sensação de movimento é, na prática, a “média ponderada” da visão da imagem proposta pelas duas diversas tipologias de células.
Guerra dos cérebros
Segundo John Pettigrew, neurocientista da Universidade de Queensland, em Brisbane, Austrália, as ilusões óticas são o fruto de uma luta entre os dois hemisférios do cérebro. Para verificar essa hipótese, ele submeteu separadamente os hemisférios do cérebro de diversos voluntários a estímulos disparatados: água gelada num ouvido, campos magnéticos, piadas que os faziam rir. Pettigrew descobriu que quando uma parte do cérebro é bloqueada, a outra consegue impor a sua imagem, inclusive quando aquilo que os olhos veem é uma coisa completamente diferente. A conclusão é que... nós enxergamos com o cérebro.
Op Art or "optical art".
Op Art is a small movement in art history, but no less beautiful or less popular ...
The cybernetic art, new technologies rescued in Op Art andcontemporary relationship, the mathematical rigor of the study andworks formas.As this movement often use the colors black and white and abuse of abstraction in the forms and explores thefallibility of the eye through the rigidity of the rules that cause the figures of optical illusion.
"The idea of form, color refers directly to the design of plastic unityof Vasarely. Molecule pictorial - the painter is the point, thepointillism of Georges Seurat (1859-1891), and the square of Kazimir Malevich (1878-1935 .), a kind of zero order from this basic structure, the painter creates a grammar of possibilities with the help of black and white, color and gradual introduction of English.Bridget Riley (1931) is another great exponent of op art.
1955 is that it generates more directly for kinetic studies, based on the perceptual changes resulting either from the position of the viewer before work is the use of vibrating elements suspended inthe background.
Cubism, Georges Braque (1882 - 1963), Pablo Picasso (1881-1973) and Juan Gris (1887-1927), the neoplasticism Piet Mondrian(1872-1944); beyond Constructivism, Bauhaus, Malevich andImpressionism, especially the part operated by Seurat.
The proposal of the artists of the Op Art seems to unite themathematical sciences and the humanities, in the sense that if you want to be among the "understanding" and "see." But there is thepossibility of going on a mission to seek and to renew the question:"Is it art?"
Op Art, with a generation who travel the world network, virtual, you see the fractal universe works online ... perceive, understand, interpret the plot of colors, textures, volumes, shapes, lines that form the image, its theme, its structure, according to his worldview.
Replies to This Discussion
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Permalink Reply by Glen Etzkorn on -
this is an example of anciently advanced OP art.
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Permalink Reply by Glen Etzkorn on
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a closer look at the correction of the earlier erroneous concept of Simultaneous Contrast includes the correction of Simultaneous Presence, where one color next to another color has established rules given proof to the issue of RGB. These are scientific sets of knowledge that emerged in 1952 in what is called the modern color theory noted in J.Albers original color booklet title 'Color Interaction', Yale 1952. Op Art as a coined word was bantered around in New York to explain these works of art that incorporated these sets of ideas of established new knowledge, not the ignorance of Varsely or Bridget Riley who basically never seemed to figure out this stage of knowledge. The black (erroneous) and white images above come from scientific studies of the 1800's which did not factor in that black as color does not exist and the above examples were proven to be merely darker whites. One of the more important proof functions not mentioned above was my masters discovery published in the original Color Interaction booklet is the painting 'Yellow Diamonds'-1952, a concept called the Doublen or Reverse After-Image, now more easily discovered in many Psych 101 text books which is the proof proving that RGB is a Color Theory while relegating the Subtractive Color theory to having no functional color wheel proof just the doings of vacant headed civilizations confronting issues of mineral pigments mixing. In the mid sixties when Op Art was to be celebrated the fools at MOMA knowing nothing much decided to toss the 1800 black and white in with the mix. Before long the ignorant of art knowledge of Varsely or Riley types got included to be called op art too. Calling them visualists of stupidity would have been more apt.
here is an explanation of color knowledge by the actual Father of OP Art.
"Color perception is affected by:
1. Each colored surface’s ability to absorb or reflect some or all of the light it gets
2. The color bias of the light striking the colored surface
a. The color bias of the primary source of the light
b. The modified color bias of reflected light
3. The constant oscillation and strobe of the eye
4. The degree and kind of contrast with nearby colors – Contrast Reassignment
5. Simultaneous Contrast of adjacent large color areas
6. The direction and degree of displacement of the perceptual spectrum based on the predominant color bias of the ambient light and the major color in the visual field."
~ Hal Rogoff -
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Permalink Reply by lucia mesquita bleasby on -
"The origins of the Op Art" distinguishes the first avant-garde movements and
following are the main mentors and emblematic works
emphasizing the international nature of aesthetic Op Indeed, Op art not only played
with the level of the decentring optical effects (multifocal space) operated as
an effective displacement of traditional Euro-American art centers:
Op art is the short name of "Optical Art", other names are "retinal art", "perceptual abstraction". .
One of its precursors is Josef Albers, both in color as in the production of
images in prints, drawings and paintings that created optical illusions with solids.
The movement is made by European artists in the United States and also
South America began to use objects
simple geometric and also to use primary colors, to explore contrasting
simultaneously and tonal scales. And then used standard scientifically constructed
or intuitively the optical illusions of Op Art The reasoning in the phenomena of visual perception refers concisely to Gestalt psychology and its laws of perception that both influenced the artists of the Op Art. Some of these artists even managed to make use
direct particular phenomena in the field of optical illusions studied by Gestalt psychologists
Op art involves more than the vision. It also involves the body, he feels, responds and sometimes suffers the illusory surface of his painting. .
The meanings of the word associated with the eye, are many,
indicate a sensitive nature, reaction and response from the viewer.Op contemporary, suggests that by exploiting
neurological phenomena that defines a physical nature rather than a transcendental aesthetic. . Op art could be seen as the convergence of contemporary concerns about the future of science A revolution in aesthetics?
progeny of the science-technology produced visual emblems that dominated the
Western civilization and its own design. The art and science are far from
potentially together, are in direct competition. The most significant images
representing contemporary life are given on television.
One of the main functions of art (to provide the society with their own images) is now played by science and technology ...
Some artists Op denied its connection with science, such as Bridget Riley,
they thought it as a place of insight and experience.
But although one can deny the use of science, the common thread with this art is the use of certain optical effects
that the vision and its dimensions the body absorb the viewer.Hence his physicality and these may be the result of experimentation of the artist and not removed from science. Since there's art, there is concern with optical effects vision more than any other sense dominates Western art. We could trace this concern
the entire history of art. I'm happy with the participation of the artist Glen Etzkorn
hope their contribution to the improvement of our group, big hug ... lucia mosque -
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Permalink Reply by lucia mesquita bleasby on
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Josef Albers was a painter, poet, sculptor, art theorist, and an educator. Through his teachings he introduced a generation of American artists to the European modernist concepts of the Bauhaus. His experimentation with color interaction and geometric shapes transformed the modern art scene, offering an alternative to Abstract Expressionism and inspiring movements such as Geometric Abstraction, Color field painting, and Op Art.
Key Ideas
- Albers' artwork showed that ideas and emotions could be conveyed through simple geometric shapes and ordinary colors, paving the way for a new type of artistic abstraction.
- Sometimes known as "the square man," he made more than 1,000 paintings in his series, Homage to the Square, from 1950 until his death. The quasi-scientific series of paintings focused on optical effects of color within the confines of a uniform square shape.
- Albers' own art, books on art theory, and teachings at The Bauhaus, Black Mountain College and Yale University were instrumental in the development of progressive artistic styles during and after the age of Abstract Expressionism.
- Among his most successful students were Robert Rauschenberg, Cy Twombly, Richard Anuszkiewicz,Eva Hesse, and John Chamberlain.
Early yearsJosef Albers was born March 19, 1888, in Bottrop, Germany. From 1905 to 1908, he studied to become a teacher in Buren and then taught in Westphalian primary schools from 1908 to 1913. After attending the Konigliche Kunstschule in Berlin from 1913 to 1915, he was certified to teach art. Albers studied lithography in Essen and attended the Academy in Munich. In 1920 Albers entered the Bauhaus, a school in Weimar that focused on the modern integration of architecture, fine art, and craft, at the age of thirty-two.
Albers initially concentrated his studies on glass painting at the Bauhaus. In 1922, as a Bauhausgeselle (journeyman), he was in charge of the Bauhaus glass workshop. In 1923, he began to teach the Vorkurs, a basic design course. When the Bauhaus moved to Dessau in 1925, he became Bauhausmeister (professor) teaching alongside fellow-artists Paul Klee and Wassily Kandinsky. In addition to working in glass and metal, he designed furniture and typography at the school.Mature PeriodAfter the Nazis forced the Bauhaus to close in 1933, Albers and his wife Anni Albers moved to North Carolina where he served as head of the art department at Black Mountain College from 1933 until 1949.
Black Mountain College was a liberal arts college with a focus on the fine and decorative arts. It attracted artists from around the world through its reputation as a radical artistic community. Albers' experience in Germany with the Bauhaus, and their integration of architecture, fine art, and craft, influenced his teaching methods at Black Mountain College, and enlightened his students to the modern European artistic concepts.
While teaching some of the most influential artists of the twentieth century at Black Mountain College until 1949, Albers simultaneously continued to successfully develop his own art with more than twenty solo shows in American galleries, featuring his glass paintings from the Bauhaus period, as well as new graphic drawings and oil paintings.
In 1949, Albers left Black Mountain College, moving to Connecticut to serve as the chairman of the Design Department at Yale University from 1950 to 1958 where he taught Richard Anuszkiewicz and Eva Hesse. While lecturing at Yale, Albers began his most famous body of work, the seriesHomage to the Square, an exercise on the optical effects of color within the confines of a uniform square shape.
After retiring from Yale in 1958 at the age of seventy, his former teacher and colleague, Walter Gropius, invited Albers to design a mural for the interior of the new Graduate Center at Harvard University. This led to other important mural commissions, including Two Portals (1961) at the Time and Life Building and Manhattan (1963) at the Pan Am Building, both in New York.
In addition to painting, printmaking, and executing murals and architectural commissions, Albers published poetry, articles, and books on art theory. His best-known book, published in 1963 was Interaction of Color, which presented his theory that colors were governed by an internal and deceptive logic.
Late years and deathAfter leaving Yale University in 1958, Albers continued to teach, giving guest lectures at colleges and universities throughout the country. An exhibition of Homage to the Square, organized by the Museum of Modern Art in New York, traveled from 1965 to 1967, to parts of South America, Mexico, and the United States. In 1971 Albers was the first living artist to be honored with a solo retrospective at the Metropolitan Museum of Art in New York.
Albers would live and work in New Haven, Connecticut, alongside his wife and fellow-artist Anni Albers, until his death on March 25, 1976.LegacyAs both artist and teacher, Josef Albers played a substantial role in the history of 20th-century art. His theories about art and color powerfully influenced a whole generation of American minimalists, creating a different way of perceiving art and, ultimately, life. He viewed art as process rather than a product with the ultimate goal being "to open eyes."
ARTISTIC INFLUENCES:
Below are Josef Albers's main influencers, and the people and ideas that he influenced in turn.ARTISTS
Piet Mondrian
Ludwig Mies van der Rohe
Wassily Kandinsky
Kazimir Malevich
Johannes IttenFRIENDS
Walter Gropius
Anni Albers
Paul KleeMOVEMENTS
Suprematism
Futurism
Bauhaus
Constructivism
Expressionism
Years Worked: 1915 - 1976
ARTISTS
Robert Rauschenberg
Cy Twombly
Richard Anuszkiewicz
Eva Hesse
John ChamberlainFRIENDSAnni AlbersMOVEMENTS
Pop Art
Color Field Painting
Geometric AbstractionQuotes"Art is revelation instead of information, expression instead of description, creation instead of imitation or repetition. Art is concerned with the HOW, not the WHAT; not with literal content, but with the performance of the factual content. The performance - how it is done - that is the content of art."
"Any ground subtracts its own hue from the colors which it carries and therefore influences."
"In visual perception a color is almost never seen as it really is - as it physically is. This fact makes color the most relative medium in art."
"Instead of art I have taught philosophy. Though technique for me is a big word, I never have taught how to paint. All my doing was to make people to see."
"Simultaneous contrast is not just a curious optical phenomenon - it is the very heart of painting." -
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Permalink Reply by lucia mesquita bleasby on
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Permalink Reply by lucia mesquita bleasby on
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Permalink Reply by lucia mesquita bleasby on
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The Op Art, with its voluptuous paintings, playing with our perceptions optics. The colors are used to create visual effects such as overlap, movement and interaction between the background and focus. The vibrant colors, concentric circles and shapes that seem to beat are the most striking features of this artistic style.
Because it is little known and being immersed in a large pot of influences ranging from surrealism to modern art, Op art is not considered a genuine movement within the visual arts, being recognized more as a part of other artistic lines, for example Kinetik Art (Kinetic Art). The boundary between the Kinetic Art and Op Art is quite thin, which creates confusion between these styles. Op Art (English abbreviation for "Optical Art") was born and developed simultaneously in America and Europe in the mid-sixties.
The basic difference between them is that the kinetic art, processes are based on the optical perception of the actual or perceived movement of the work which may be flat, two-or three-dimensional, whereas the Op art, there is only virtual movements, using planar objects and geometric shapes. The tougher standards are in trouble with the forms and the detailed study of optical phenomena are the main focuses of the Op Art
In part, this gap has arisen due to competition with Pop Art, which took care of virtually all the world art scene, leaving little room for other artistic expressions.
The advent of the computer, however, brought a new breath to the Op Art metallic colors, shapes and almost mathematical rigorous organization of the elements have everything to do with "cyber society".
Conceptual characteristics
Op Art The reason is the representation of movement through the paint only to the use of graphics. The change in modern cities and the suffering of the man with the constant change in its rhythms of life are also a constant concern. The fast life of cities contributed to the perception of movement as a constituent element of the visual culture of the artist. Another key factor for the creation of Op Art was the evolution of science, which is present in virtually all studies, based mainly on psychological studies about modern life and on the Physical Optics.
Technique
Cores da Felicidade LUCIA MESQUITA
The dynamics of the Op Art painting is achieved by the opposition of identical structures that interact with each other, producing the optical effect. Different levels of lighting are also used constantly, creating the illusion of perspective. The interplay of colors, based on the great contrasts (black and white) or the use of complementary colors are the raw material of Op Art
The technique "moire", applied to work "Current", Bridget Riley, is a good example. In it there is the creation of a mobile space, producing an effect called "whip blast" (explosion of the whip). This technique, like most of the techniques used in Op Art, explore the possibilities of the optical phenomenon in the creation of virtual volumes and shapes.
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Permalink Reply by lucia mesquita bleasby on
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The Op Art aesthetics arose and developed at the same time in the 60 United States and Europe. Op Art, short for optical art, advocated to art "less expression and more view," despite the rigor with which it is built, it symbolizes a changing and unstable world, that there remains ever the same.
Bridget Riley
The Op Art explores the human eye in that his works create an optical illusion, creating images that seem to deform, vibrate, flash and pulse before the eye of the beholder. For that artists used geometric shapes and graphics such as stripes overlapping, undulating curves, squares, triangles and concentric disks, which combined create a movement and an incentive chart, giving the idea of interaction between objects and background.
Victor VasarelyColor is also another tool used by artists of the Op Art to give dynamism to the works.The black and white are the colors used in Op Art, but can also be found colorful works. Colors that cause great contrasts, as well as different lighting levels, exploring the creation of virtual forms.Op Art fell rapidly in popular taste, as they became fashionable geometric prints in the '60s, when the U.S. confeccionista Larry Aldrich commissioned textile artist Julian Tomchin stamping a collection inspired by the paintings of English Bridget Riley Op thereafter Knockoffs the prints were made and scattered in blouses, dresses and skirts, which ended up popularizing the works.Top Artists Op Art
Victor Vasarely
The term Op Art first appeared in Time Magazine in October 1964, although it had been produced for some years working with the same aesthetic. It was suggested that the work of Victor Vasarely, the 30s, such as Zebra, consisting of lists diagonal black and white, curved in such a way that gives the three-dimensional impression of a seated zebra, should be considered the first works of op art.
Work of Vasarely outside a museum in Pécs
Bridget Riley
The British artist has an important role to Op Art in the mid 60s to use colors in their work revolutionized the Op Art movement by introducing a technique called "Moire", through which creates a mobile space that produces an effect similar to a crack of the whip.
Richard Anusziewicz
Yaacov Agam
In 1965, we organized the first exhibition of Op Art in the Museum of Modern Art in New York: The Responsive Eye (The Eye Responds). In addition to Victor Vasarely, exhibited their works: Richard Anusziewicz, Bridget Riley, Ad Reinhardt, Kenneth Noland and Larry Poons.
The Op Art almost fell into oblivion after his period of prominence in the '60s, perhaps because it is an empty art that arouses feelings in people, being closer to science than the man himself, unlike, for example, the pop art that reflects his time through symbols.
Inspired Fashion
Some designers have used as inspiration op aesthetics creating patterns and shapes using geometry and optical illusion.
The Op Art influenced fashion in the late 60's. This influence appears in geometric prints and vibrant colors of the dresses, as recorded in the photo above, Like Peterson.
The Brazilian designer Mario Queiroz presented his collection Spring / Summer 2009 works of art inspired by the Venezuelan Jesus Rafael Soto, Mario created on top of geometric lines and desires.
Pierre Cardin - Spring 2009
Sachio Kawachi
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Permalink Reply by lucia mesquita bleasby on
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Op Art (Optical Art), however, is an art form that emerged in the 1920s and known by Zebra (1938) Victor Vasarely and his exhibition Le Mouvement, the artistic movement spread and became fashionable in the years in 1960. Patterns of circles, spirals and squares create illusions visual motion and vibration in black and white.
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Permalink Reply by lucia mesquita bleasby on
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Victor Vasarely - Pintor - Op-art
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Permalink Reply by lucia mesquita bleasby on
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Victor Vasarely - Pintor - Op-art
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Permalink Reply by lucia mesquita bleasby on
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Victor Vasarely was a painter of Hungarian origin considered by many as one of the most important artists of the so-called Op-Art, one of the founders of kinetic art, through developments of paintings of geometric abstractions.
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