Op art and constructivism
Constructivism
Constructivism is a creation of the Russian avant-garde and has followers throughout the continent. Germany was the place where the most constructivist artists were active outside the Soviet Union. (notably Walter Gropius's Bauhaus in his own country, a progressive art and design school in favor of the movement), but the ideas of constructivism also spread to other art centers such as Paris, London, and eventually to the United States.
Artists of different origins of Constructivism testify to the international character of the movement. Gabo, Anto Van Pevsna, and Liszki brought constructivism from the Soviet Union to the West. Laszlo Mohoy Nagy came to Germany from Hungary and Van Dusenburgh came from the Netherlands. Ben Nicholson was Britain's most prominent master of constructivism. Joseph Albers and Hans Richard met the Constructivist movement in their native Germany. There is also instrumental music in the international spread of constructivism.
Constructivist art marked the contract with absolute abstraction and single-minded acceptance of modernity. Often geometric, it is the usual experience with little emotion. The objective form is considered to be of universal significance, preferring to be subjective or individual. This kind of art is still very abstract, cutting down the work to its basic elements. New media are often used. Again, the environment is crucial: the constructivists seek an artistic order that will rebel against the past (the old order ended in the First World War) and lead to greater understanding, unity and peace in the world. This utopian ideal is often lost in recent abstract art, perhaps with ties to constructivism.
This new art is not only three-dimensional, but also four-dimensional (time), which is the expression of movement, path, and rhythm. Naum Gabo's "Cylindrical Model" and "Diagonal Spatial Structure" The picture below shows Mohori Najib's spatial adjuster
The third movement in art is called the movement of "concealment" and "manifestation", it is not only a suggestion of movement, nor is it only an illusion of movement, it is special, it can almost be used as a "sign" of light effect art.
- Cyril Beret
Op Art
Op art (light effect art or iris art), originated from the French art movement in 1955, and was later recognized as an art form.
Op Art is an artistic trend that emerged in the 20th century in the West, and the Op art style originated in Europe and the United States in the 60s of the 20th century. "OP" is an abbreviated form of "Optical", which means optical in vision, that is, visual effects. The official use of this name was in 1965, when the Museum of Modern Art in New York held an exhibition of reactive paintings of the eye, in which a large number of carefully designed, regularly arranged ripples or geometric pictures were displayed, causing a sense of movement and flickering in visual perception, causing the optic nerve to produce dizzy light effects and visual illusions in contact with the picture graphics.
The term op art or light art is often used to describe paintings or sculptures that appear to swell and vibrate through the use of optical effects. The leading figures of the movement were St. Bridget, Rayleigh and Victor, Vesareli. They use patterns and colors in their paintings to achieve a deceptive effect on the viewer.
Sculptors Eric Olsen and Francisco Semporero used multiple layers of plexiglass of different colors to create a similar illusion of distortion. The artists used the existing ideas of psychology, but their original intention was to use the greatest precision to get the desired results.
Op art is a form of abstract art that is closely related to the kinetic and constructivist art movements. In the 60s and 70s of the 20th century, op art was very popular in the United States and Europe. But it has been questioned by critics to a certain extent. In mid-1965, after the "Reaction of the Eye" exhibition at the Museum of Modern Art in New York, Op Art became a household name. This style was quickly appropriated by fashion designers and high-end stores.
It was only after the birth of the Op Art movement that optical illusion was recognized as an art form. In 1964, Time magazine gave them the term "op art". In 1965, the Museum of Modern Art in New York held the exhibition "The Responsive Eye." In the exhibition, Opple artists explore many aspects of visual perception, such as the relationship between geometric shapes, "impossible shapes" that do not exist in reality, and illusions about the perception of light, color, and shape. But the illusionary picture of "moving" attracts special attention. In these tricks to deceive the eye, the still patterns give the viewer a strong subjective illusion that they are moving. Therefore, Optical Art is also known as "light effect art" and "visual illusion art", which is a new style genre that emerged after Pop Art and was driven by the scientific and technological revolution in Western Europe.
Victor Vasarely 作品
"Op art" refers to the art of painting that uses human visual trompe l'oeil. Therefore, "Op Art" is also called "visual effect art" or "light effect art". It is a painting art that uses human visual trompe l'oeil. It mainly uses the complex arrangement, contrast, interlacing and overlapping of black and white or color geometric shapes to create a disturbance of various shapes and colors, a sense of rhythmic or variable activity, giving people the impression of visual confusion. The costumes under Op art give people a sense of visual dynamism according to certain rules...
Bridget Louise 作品
In fact, Op art aims to achieve a sense of visual perceptual movement and flickering through painting, so that the optic nerve produces a dizzying light effect phenomenon and visual illusion effect in the process of contact with the picture figure. In this way, Opple artists explore the relationship between visual art and perceptual psychology, trying to prove that the visual nerve can also be activated with rigorous scientific design, evoked and combined into a visual image through visual action, so as to achieve the same moving artistic experience as traditional painting. For this purpose, Opple's art works abandon the natural reproduction of everything in traditional painting, but instead use geometric abstraction with black and white contrast or strong colors, and in pure colors or geometric forms, with strong stimuli to impact people's vision, so that the vision produces trompe l'oeil effect or spatial distortion, so that the work has a sense of fluctuation and change.
安德鲁基威斯(R. Anuskiewicz)作品
Op art can be called a kind of intellectual game that challenges human vision, thus leading the viewer into an unpredictable world of illusion. The art critic Phopopa once gave a more scientific explanation to Op art: using the periodic structure of various geometric bodies, the overlapping of wefts or the arrangement of colors, and at the same time using a variety of different artistic means and scientific methods to produce the phenomenon of optical power - the ripple effect of radiation and the diffusion of color, its intensity separation and parallel contrast, continuous or crossing, the increase or decrease of color and hue, the mutual interference of colors, etc., all these phenomena will cause irritation, impulse, and so on to the retina. Vibrations and other strong reactions to vision, such as mixing and overlapping (e.g., the inversion of the image and the background, the interpenetration between the warm colors in the front and the cool colors in the back), result in a circle of unclear meaning and a persistently unstable shape.
Josef. Albers)like work
Op art emerged in Europe and the United States at about the same time. Its most outstanding representative is the French painter Victor Vasareli, who has been creating paintings with movement and shimmering effects since the 50s, which has become the mainstream of French Op art. Other influential Op art painters were Josef Ebers in the United States. Albers and R. Andrew Givens. Anuskiewicz), a British female artist B. Rayleigh. Riley) and Y. Aghem of Israel. Agam), J. Sartu of Venezuela R. Soto) and others.
Although Op art did not flourish for a long time, it went into decline in the seventies of the twentieth century. However, its ever-changing visual impression, with a strong sense of stimulation and novelty, has widely penetrated into a variety of design fields and has had a great impact on the world.
萨图（J. R. Soto）作品
Winchin Gallery privately represents the original works of top international artists (if the client has other needs for the works of specific artists, we will use overseas art resources to find them for you):
Pablo Picasso, Andy Warhol, Vincent Gogh, Henri Matisse, F. Kahllo, G. Richter, Willem Adolf Bouguereau, Marc Chagall M. Chagall, Claude Monet C. Monet, Rembrandt Hammansson van Rij, Guercino Guercino, Mattia Preti Preti, U. Boccioni, Lucio Fontana L. Fontana, Francis Bacon F. Bacon, Jean-Michel Basquiat J.M. Basquiat, Rafael Sansi Raffaello, Canalretto A. Canaletto, Paolo Veronese, P.A. Renoir, P.A. Cézanne, R. Magritte, S. Dali, Amedeo Modigliani, H. Bosch, Francisco Goya F.Goya, P.Paul Rubens Rubens, Tintoretto, François Boucher F. Boucher, Anthony van Gram A. Van Dyck, Francisco de Subaurão F. Zurbaran, Yayoi Kusama, Kaws, Yoshitomo Nara, Zao Wou-Ki et al