OP ART: ORIGIN, HISTORY, CHARACTERISTICS, TECHNIQUES, REPRESENTATIVES - ART - 2024

Op art is a term used to refer to "optical art" or optical art and is focused on generating optical illusions. It is a branch of geometric abstraction, a phase of abstract art developed in the mid-20th century.

We speak of geometry because op art uses patterns, colors and shapes to produce images with which sensations of movement, blurring, fading and other dynamism can be generated at an optical level.

Op Art uses bright, contrasting colors and uses geometric shapes to generate optical effects

Image by Anthony Mauldin from Pixabay

Fundamentally, op art uses shapes and colors in a systematic and precise way. Both elements have to do with the concepts of perspectives of optical illusion and the use of color.

Regarding the perspective of optical illusion or perceptual illusions, it can be said that it is the phenomenon that occurs when an object produces a stimulus that is not actually being generated in said object.

For example, thanks to an optical illusion we could see an image (object) within which a movement is being generated (non-real stimulus), but in reality, the image is totally static.

At present, the factor of dynamism is one of the most sought after in optical illusions. Much of the sensations that op art seeks to generate have to do with the ambiguity and contradiction that can be generated in the viewer's vision.

Origins and history of op art

Among the main antecedents of op art is the German Bauhaus school of architecture and applied arts. Founded in 1919 by Walter Gropius, it contained a discipline that focused on the study of the main geometric shapes, the cube, the triangle and the rectangle. Part of the ideas had to do with understanding the nature of art in the technological age.

During Nazi Germany, the Bauhaus school closed its doors in 1933, however, many of its followers were the main influencers for its style to reach new lands in Europe and the United States.

Among other great references is the development of kinetic art, which became popular during the first decades of the 20th century and which is based on the creation or illusion of movement. Kinetic art in its beginnings was only made in the form of sculptures, however, around the 50s and 60s the way to bring it to a flat surface was questioned.

This trip from the 3D world to the 2D was made possible by using patterns and lines, taking advantage of the fallible or deceptive nature of the human eye. In the beginning, optical illusions of movement were realized through the contrast between black and white.

Later, the management of color within op art allowed even a greater understanding of the theories related to the study of colors. In this way, it could be observed how a color can vary visually depending on its proximity to others.

For example, a yellow figure on a white background would not look the same if it had a black background instead. In the first case, the yellow figure would appear lighter and in the second approach, it would appear darker.

Victor Vasarely, Bridget Riley and Richard Anuszkiewicz stand out among the main emerging artists in op art of the second half of the 20th century.

characteristics

-The op art focuses on the creation of images that allow an optical interaction.

-It is a perceptual experience, that is, it is related to the way in which human sight works.

-It is created from effects generated by patterns, lines, shapes and colors.

-In the beginning, the works were done only in white, black.

-Op art usually makes use of contrasting colors to create different sensations.

-Within the works it is possible to perceive the illusion of movement, vibration, fading of forms, different intensities of colors, depth, brightness and more.

-The op art explores the relationship between the retina of the eye and brain processes. Some patterns are capable of generating some confusion between both parts of the body, resulting in the perception of an optical effect.

-Op art is a type of abstract art. It is not representational, because it is not oriented to represent figures that can be identified in reality.

Techniques

Using black and white

When it comes to images without color, in op art he makes use of white, black and grayscale using the relationship between the figure and the background. The objective is that this relationship is in tension or, in a contradictory juxtaposition.

The op art in its beginnings was made only in black and white. He used shapes, such as lines and patterns for his effects.

Image by Gordon Johnson from Pixabay

Juxtaposition has to do with placing figures or shapes together, but without superimposing them, that is, that none is on top of another.

In this way, op art is created through the use of lines and patterns that multiply on the canvas and combine white, black and gray. In this way the viewer will observe a dynamism, with illusions of movement, brightness, depth and more.

Use of color

Regarding the use of color, op art makes use of the types of interaction of the eye with color.

-The simultaneous contrast. When an area of ​​color is surrounded by another of a different color. This effect generally increases the contrast in terms of brightness and between colors.

-The successive contrast. It is that case in which one color is seen first than another. It happens when you fix your eyes on one color constantly and then quickly change to another color. The new color perceived through vision is the complementary color. Complementary colors are those that are in opposite positions on the color wheel.

-The Bezold effect. Which talks about the differences that can be perceived in the tone of a color depending on the adjacent colors, that is, the colors next to which it is found.

Moiré effect

Occurs when two lattice geometric patterns overlap and create a new pattern. The name of this effect comes from a type of fabric of the same name which visually reproduces a sensation similar to that of the visual effect.

Main managers

Victor Vasarely (1906-1997)

He was an artist of Hungarian-French origin, widely known as the father of the op art movement. He left his medical studies to dedicate himself to artistic training in the area of ​​painting, at the Bauhaus study center in Budapest.

He worked for a long time in his life as a graphic artist. Part of his references were the works of abstract art made by Mondrian and Malevich. His works include sculptures made from optical illusions. Some of his most popular achievements are:

- Zebra (1937)

- Sophia (1954)

- Vega III (1957)

- Vega-Nor (1969)

- Ambigu-B (1970)

Bridget Riley (1931)

Born in London, in 1960 she began her explorations in art within the world of optical phenomena. Her early works in black and white helped her gain recognition, even to the point of having an exhibition dedicated only to her works in 1962. At the end of the same decade she began to investigate and introduce color into her creations.

Among his most representative works are:

- Fall (1963). I work in black and white. Straight lines.

- Blaze (1964). Black and white work with curved lines.

- Hesitate (1964). I work with white, black, and gray scales. Circular shapes.

- To a Summer's Day 2 (1980). I work in color. Curve lines.

- Nataraja (1993). I work in color. Geometric forms.

Richard Anuszkiewicz (1930)

He is a contemporary American artist, known for his works made with vibrant colors and geometric compositions. One of his artistic references for work with optical illusions was Josef Albers, a great contributor to color theory.

Anuszkiewicz also explored sculpture late in his career. He was included in the Venice Biennale exhibition and in 2000 he was awarded the Lee Krasner Prize. Among his outstanding works are:

- Deep Magenta Square (1978).

- Temple of Orange Light (1972).

-Blu Red Duo (2017). Loretta Howard Galler.

- Temple of Lavender with Orange (2018). Rosenfeld Gallery

- Rainbow Squared Red (2019)

Marina Apollonio (1940)

One of the most recognized contemporary op art artists. Originally from Italy, she studied at the Academy of Fine Arts in Venice, specializing in areas such as graphic, industrial and interior design. Her work focused on op art and kinetic art takes shape from the 1960s.

Among his most outstanding works are:

- N ° 28 Gradazione 14 P Forma colore (1972)

- Dinamica circolare 6S84 (1966–1975)

- Dinamica circolare 6R (1965)

- Rosso su fluorescent green 6A (1966)

- Gradazione 15 blu / bianco su rosso (1971)

References

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