Loading presentation...

Present Remotely

Send the link below via email or IM

Copy

Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.

DeleteCancel

Make your likes visible on Facebook?

Connect your Facebook account to Prezi and let your likes appear on your timeline.
You can change this under Settings & Account at any time.

No, thanks

Op Art Seminar

AV1 4M
by

Kristi Luk

on 22 November 2012

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of Op Art Seminar

1964 Op Art What is Optical Art? Even Before Period Types of Art Purpose of the Movement The 'Father' of Op Art The 'Mother' of Op Art A form of abstract art that gives the illusion of movement by the precise use of pattern, colour and contrast to produce effects that confuse and excite the eye on a 2-D surface. Driven by artists who were interested in investigating various perceptual effects





To provide the viewer with an illusion of movement on a static 2D surface Suggest movement and perceptual uncertainty
Repetition of patterns and lines
Often high contrast between black and white
Use of colour contrast
Op artists exploited various phenomena: flashing, vibration, swelling, reversible perspective, line interference
Moire: an interference pattern created by curved lines or overlapping lines
Usually all of the space is used
Various mediums: oil, acrylic, emulsion or screen print on canvas, board, linen, or paper Born: 1906 Hungary Died: 1997 Paris

In 1927, switched from studying medicine to pursuing a career in art
studied the original Bauhaus ideas of use of colour and optics at the Muhely Academy in Hungary
Worked in a number of different styles
laid the foundations for Op Art movement
created the Alphabet Plastique that made his compositions difficult to know where it began and ended
a fine arts programming language using circles, squares and triangles matched to different colour scales of 20 hues each Born: Norwood, South London 1931

Father and Grandfather were both painters
Drawing and painting became the centre of her life from an early age
In 1960, she began her first op art paintings
Paintings were guided by what she saw with her own eyes, not based on theory
spent two years copying Seurat’s painting, Bridge of Courbevoie, to learn about his painting technique and use of complementary colors
She is a trustee of the National Gallery in London
When she paints, she mixes her own paint and everything is painted by hand Victor Vasarely was the first to explore unusual perceptual effects in some designs from the 1930’s. 1964 Time magazine made the term "op art" popular after using it in an article 1955 Op art gained attention after it was launched at Le Mouvement, a group exhibition at the Denise Rene Gallery 1965 The exhibition, The Responsive Eye, was put on at the Museum of Modern Art in New York showcased 123 paintings and sculptures by a total of 100 artists from 15 nations
including:
Victor Vasarely
Bridget Riley led to a craze for Op designs in fashion and the media the use of Op art for commercial purposes may have led to the decline of the movement
Artists’ designs were borrowed by American clothing manufacturers
Designs were found on posters, t-shirts and book illustrations The Decline 1968 Op art lost popularity It was viewed as nothing more
than tricks of the eye. Some out of enthusiasm for research and experiment
Others with distant hope that the effects they mastered might find an wide audience and integrate modern art into society in new ways 1935 1937 paper dress 1938 Victor Vasarely Bridget Riley Vega-nor 1969 acrylic on canvas
2m x 2m Types of Contrast when you stare at two contrasting colours long enough, the colours create an after image Simultaneous Contrast Successive Contrast when two colours, in particular complimentary, are juxtiposed, changing our perceptions of the colours 1963 fall emulsion on board
141 x 140.5 cm movement and rhythm through the use of wavy lines; also depicting the use of Moire
close contrast between black and white lines lead to the appearance of vibration and flashing
the gradation of space from the top to the bottom gives an essence of "falling"; hence the name of the piece repetition of the square pattern
gradation of the size of the squares to create the bulging effect
uses the Alphabet Plastique with 3-dimensionality
simultaneous contrast from the use of complementary colours Op Portraiture
Full transcript