How Op-Art Works
Op art exploits the functional relationship between the eye's retina (the organ that 'sees' patterns) and the brain (the organ that interprets patterns). Certain patterns cause confusion between these two organs, resulting in the perception of irrational optical effects. These effects fall into two basic categories: first, movement caused by certain specific black and white geometric patterns, such as those in Bridget Riley's earlier works, or Getulio Alviani's aluminium surfaces, which can confuse the eye even to the point of inducing physical dizziness. (Note: Op art's association with the effects of movement is why it is regarded as a division of Kinetic art.) Second, after-images which appear after viewing pictures with certain colours, or colour-combinations. The interaction of differing colours in the painting - simultaneous contrast, successive contrast, and reverse contrast - may cause additional retinal effects. For example, in Richard Anuszkiewicz's 'temple' paintings, the arrangement of two highly contrasting colours makes it appears as if the architectural shape is encroaching on the viewer's space.
Op art, also called optical art, branch of mid-20th-century geometric abstract art that deals with optical illusion.Achieved through the systematic and precise manipulation of shapes and colours, the effects of Op art can be based either on perspective illusion or on chromatic tension; in painting, the dominant medium of Op art, the surface tension is usually maximized to the point at which an. Op Art as used in fashion and design. See here to find out more about Op Art in Fashion.
Despite its strange, often nausea-inducing effects, Op-Art is perfectly in line with traditional canons of fine art. All traditional painting is based upon the 'illusion' of depth and perspective: Op-Art merely broadens its inherently illusionary nature by interfering with the rules governing optical perception.
History
The origins of Op Art go back to pre-war painting theories, including the constructivist ideas of the 1920s Bauhaus design school in Germany, which stressed the importance of the overall formal design, in creating a specific visual effect. When the Bauhaus closed down in 1933, many of its lecturers (notably Josef Albers) moved to America and taught in Chicago and at the Black Mountain College in North Carolina. Josef Albers duly produced his famous 'Homage to the Square' series of paintings which had Op-Art tendencies. Meantime, from the early 1930s, the Hungarian-born painter and graphic artist Victor Vasarely was experimenting with various visual tricks such as trompe-l'oeil and others, from certain types of poster art: see his Op-Art picture Zebras (1938). Later, he turned to painting, creating the geometric abstract pictures for which he is famous. During the 1950s, the Op-Art style also appeared in John McHale's black and white Dazzle panels at the 'This Is Tomorrow' exhibition in 1956. Bridget Riley began to develop her distinctive style of black-and-white optical art around 1960.
Modern interest in Op Art dates from 'The Responsive Eye' exhibition, curated by William C. Seitz, which was held in 1965 at New York's Museum of Modern Art (MoMA). A wide range of works were exhibited including those by the well-known Victor Vasarely and the contemporary Bridget Riley. Immensely popular, the show highlighted the illusion of movement and the interaction of colour relationships, neither of which found great favour from the critics.
Although the Op Art style became highly fashionable during the second half of the 1960s, it declined rapidly thereafter as a serious art form, despite periodic minor revivals. Notable exhibitions in recent times have included: 'L'oeil Moteur, art optique et cinetique 1960-1975 (Musee D'Art Moderne et Contemporain, Strasbourg, France, 2005); 'Op Art' (Schirn Kunsthalle, Frankfurt, Germany, 2007); 'The Optical Edge' (The Pratt Institute of Art, New York, 2007); 'Optic Nerve: Perceptual Art of the 1960s' (Columbus Museum of Art, Columbus, Ohio, 2007). Works by famous Op-artists can be seen in several of the best art museums in Europe and America.
Famous Op Artists
The senior exponent, and pioneer of Op art effects even as early as the 1930s, is Victor Vasarely, Hungarian in origin, but working in France since 1930. He has taken a radically sceptical view of traditional ideas about art and artists: in the light of modern scientific advances and modern techniques, he claims that the value of art should lie not in the rarity of an individual work, but in the rarity and originality of its meaning - which should be reproducible. He began as a graphic artist; much of his work is in (easily reproducible) black and white, though he is capable of brilliant colour. His best work is expressed in geometric, even mechanistic terms, but integrated into a balance and counterpoint that is organic and intuitive. He claims that his work contains 'an architectural, abstract art form, a sort of universal folklore'. His mission is of 'a new city - geometrical, sunny and full of colours', resplendent with an art 'kinetic, multi-dimensional and communal. Abstract, of course, and closer to the sciences'. Vasarely's work can sometimes dazzle the eye, but he does not aim to disturb the spectator's equilibrium.
The effect of the work of British artist Bridget Riley can be to produce such vertigo that the eye has to look away. Though carefully programmed, her patterns are intuitive and not strictly derived from scientific or mathematical calculations, and their geometrical structure is often disguised by the illusory effects (as Vasarely's structure never is). Riley refuses to distinguish between the physiological and psychological responses of the eye.
Peter Sedgley (born 1930), a Briton living mainly in Germany, became known about 1965 for his experiments with one of the recurrent images of late twentieth-century painting, the 'target' of concentric rings of colour. The effect was intensified by changing lights of red, yellow and blue, electrically programmed. Later he developed 'videorotors', stippled with brilliant fluorescent colour, rotating and still further animated by the play of ultraviolet and stroboscopic light upon them. His latest work has explored relationships between light and sound, with screens on which the noise and movement of spectators or passers-by are rejected in coloured light.
Other artists associated with Op-Art include: Yaacov Agam, Josef Albers, Richard Allen, Getulio Alviani, Richard Anuszkiewicz, Carlos Cruz-Diez, Tony DeLap, Gunter Fruhtrunk, Julio Le Parc, John McHale, Youri Messen-Jaschin, Reginald H. Neal, Bridget Riley, Jesus Rafael Soto, Julian Stanczak, Günther Uecker, Ludwig Wilding, and Marian Zazeela.
Pop Art History in a Nutshell – the 50s
Pop Art: the most popular of all modern art! Bold, colourful, easy to understand and relate to…pop art doesn’t stop fascinating people, media and designers. It emerged in the 50s and was an act of rebellion against Abstract Expressionism and its elitism. Fashion people and designers soon adopted pop art’s boldness, pop-culture aesthetic and the desire to democratise fashion and make it more accessible to the masses.
This was the fashion Andy Warhol saw in the 50s, and started to revolutionise with his pop-art. Photo: drinkingshampain.wordpress.com
Dior dress – 50s fashion was beautiful, but very formal and expensive. Photo: fashion.lilithezine.com
The new Marilyn – Warhol’s Marilyn. Photo: wikiart.org
The Marriage with Fashion – the 60s
The 1960s saw the first example of a fashion collection openly inspired by pop art. Yves Saint Laurent’s Autumn/Winter 1966-67 Pop Art Collection is a striking example of how beautiful the hues of an artist (in this case Tom Wesselmann) can look on clothes. The designer thought that fashion should be accessible to everybody, and the collection was a huge success.
1966: Yves Saint Laurent Winter creates the first collection featuring art, inspired by Tom Wesselmann. It was completely different from anything every designed before; no wonder everybody wanted to wear it. Photo: pinterest.com
Yves Saint Laurent was a visionary and kept introducing new ideas in fashion during his whole career. Photo: tumblr.com
Musical Pop Art – the 70s
The influence of pop art on fashion never really stopped, and a Warhol Marilyn can be seen on 70s t-shirts, bags and accessories as well. What was typically very fashionable at the time, though, was the introduction of iconic musicians, bands and groups like The Beatles, Jimi Hendrix, The Doors, David Bowie and Debbie Harris on t-shirts, canvas bags and clothes. The famous psychedelic suits worn by the Beatles in Sgt. Pepper’s Lonely Hearts Club Band and the album sleeve design, by Sir Peter Thomas Blake, are an example of the link between 70s music, fashion and pop art.
Laue diffraction is one of the oldest diffraction techniques. Traditionally, it was applied to determine the orientation of single crystals. With the advent of advanced micro-focussing optics at synchrotrons Laue microdiffraction has become an important microstructural characterisation tool for both single crystals and poly-crystals. Laue x ray diffraction. Laue X-ray Diffraction systems offers a number of single crystal orientation solutions using the Laue technique. From high throughput 24/7 production environments such as turbine blade casting facilities to R&D facilities for single crystal orientation. LAUE DIFFRACTION. INTRODUCTION X-rays are electromagnetic radiations that originate outside the nucleus. There are two major processes for Xray production which are quite - different and which lead to different X-ray spectra. CHARACTERISTICS X—RAYS If electrons striking a target are sufficiently energetic to ionize some of. Instrument Description Unlike the other instruments in the lab, this instrument uses polychromatic 'white' X-rays from a tungsten anode to simultaneously observe multiple diffraction peaks from a single crystal material. The instrument uses back-reflected X-rays collected on a large area multiwire detector.
An explosion of colours and pop art for this iconic album cover. Photo: sonyinsider.com
Pop art, music and fashion in this iconic photo of Debbie Harry by Brian Aris: Andy Warhol’s BAD. Photo: telegraph.co.uk
Power Woman like Moschino’s, Fun like Fiorucci – the 80s
Both Moschino and Jean-Charles de Castelbajac used pop-art extensively in their designs, in the 80s – and still do now. The new, liberated, career woman was powerful, educated, ironic and dressed accordingly. She refused the fashion system and stated that good taste doesn’t exist. Open references to pop art, funny statements, consumerism-inspired accessories and wit decorated her clothes.
Another brilliant example of connection between pop-art and fashion was the Fiorucci store – a cornucopia of crazy fashion and colourful memorabilia.
“Went to Fiorucci and it’s so much fun there. It’s everything I’ve always wanted, all plastic.” (Warhol’s diary 1983)
Andy Warhol reportedly visited the New York store days after it opened and became friends with Fiorucci. He even chose the window as the place to launch his own magazine: Interview. Fiorucci worked with Warhol on the launch of the restaurant for Studio 54, which was attended by Grace Jones and Bianca Jagger.
Roy Lichtenstein-inspired Moschino collection. Photo: pinterest.com
Jean Charles de Castelbajac’s always drew inspiration from pop art. Here its fall 2009 collection, that took the designer’s humorous attitude to heart with the furry Warhol dress.
Andy Warhol with “the man who made fashion fun” – Elio Fiorucci. Photo: artribune.com
Versace – the 90s
Huygens diffraction. Nobody made us dream like Versace did in the 90s : his clothes were pure theatrical sexiness and an explosion of luxury and desire. Rimworld 3d. Art was revisited in the sexiest way possible, so even Warhol’s iconic Marilyn almost became secondary and emphasized the beauty of the body. American pop culture met the dramatic Italian sensuality – the result was one of the best periods in fashion ever.
Linda Evangelista wearing the iconic Marilyn dress by Versace. Photo: polyvore.com
Christy Turlington on the Versace catwalk. Photo: Christopheruveniodesign.blogspot.ch
Op Art Fashion Designers Near Me
Paint On – the Millennium
It’s hard to choose among all designers who drew inspiration from art, and pop art in particular, around the arrival of the millennium. But one of the most notable examples is Alexander Mc Queen’s Spring Summer collection 1999: an intense – and delicate – experiment of yet another fusion of fashion and art. The model was the canvas; robots surrounded her. Her attitude was first insecure, then more and more comfortable. Paint was sprayed on her while the audience burst into applause. Painting on clothes as a way of colouring life; life as coloured even if surrounded by technology.
Today – Make UP
Beauty and make-up are also heavily influenced by pop art. Be it for Halloween, for a party, or just for fun, hundreds of tutorials can be found on youtube or Pinterest to teach this arty-inspired style. A need to dream, or a good business?
Pop Art tutorials are very popular. Photo: pinterest.com
Kate Moss by Mario Testino. Photo. pinterest.com
Chanel, Prada, Adidas
Three more examples of classic brands that use pop art as an inspiration today:
Chanel
Karl Lagerfeld is a genius and keeps surprising us with his inventive collections and incredibly located catwalks. Art is a natural source of Lagerfeld’s inspiration and keeps influencing Chanel’s catwalks and designs.
Prada
Prada’s oversized portraits, inspired by pop art, graced her recent Spring collection and made the collection fun.
Rita Ora for Adidas
In pure cartoon style, Adidas classics are decorated with pop art-inspired vibrant colours, and modelled by Rita Ora.
Op Art Fashion Designers 2020
Lagerfeld’ personal art was decorating the Chanel catwalk, totally inspired by pop art. Photo: pinterest.com
Portraits and rainbow colours for Prada. Photo: stylepantry.com
Op Art Fashion Designers Of America
Adidas originals rivisited by art. Photo: adidas.com
Curious about art events? Check out Dostinja’s report about Frieze: Frieze London 2015 – What To See This Year.
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