OP Art Is a Term Term Paper

Download this Term Paper in word format (.doc)

Note: Sample below may appear distorted but all corresponding word document files contain proper formatting

Excerpt from Term Paper:

In the "temple paintings" by Anuszkiewicz, for example, a sense of depth is elicited by the utilization of two contrasting colors. Looking at these works, we are under the impression that we are looking at something in three dimensions. It is almost as though an architectural work is invading the space in which we view the picture.

Stanczak went even further in his pictorial compositions with color. As a matter of fact, it could be said that Stanczak's oeuvre is based on an intense examination of the way that colors function when they are put together. In the words of Rand,

Stanczak created various spatial experiences with color and geometry; the latter is far easier to discuss. Color has no simple systematized equivalent. Indeed, there may be no way to describe it that is both meaningful and accurate. Descriptions of it (the color wheel or color solids, for example) are all necessary distortions. While color derives from the electromagnetic scale that corresponds to the magnitudes of energy expressed by musical pitch, in fact, the neurological occidentals by which we experience color make it seem multidimensional, while musical pitch (not timbre, volume, or duration) is experienced as a linear relationship... [the artist's] gift is for layering. He arranges transparent patterns upon patterns so that you see through them as gauziest screens, each one seeming to fold as if it moves (Rand 40 and 42).

The work of Ratliff (1996) on color theory is also useful to consider when analyzing op art. Ratliff contends that there are three main classes of color interaction - simultaneous contrast, successive contrast, and reverse contrast (also known as assimilation.) Simultaneous contrast occurs when one patch of color is surrounded by another color. Successive contrast takes place when one color is viewed, followed by another. This usually occurs when we are led to fix our eye on one color, then replacing that color with another. In the final form of contrast - assimilation - the lightness of white or darkness of black appears to spread into other regions of the canvas. This effect tends to make neighboring areas look more alike, rather than enhancing their differences.

Whereas op art seems to be most popular in painting, there are some artists who have tried to recreate the effects of op art through the photographic medium. This has proven to be an immensely difficult challenge over the years, however, as there seems to be a lack of appropriate op subject matter in the photographic realm. Op art also requires that the image be rather extreme in its illusionist qualities - something that photographers are rarely interested in doing. One of the few artists who tried to recreate op art effects in photography was Laszlo Moholy-Nagy. Moholy-Nagy was also affiliated with the Bauhaus movement, and even taught courses on op art in photography for the Bauhaus. In one of his lessons, he required his students to punch holes in cards and then photograph them. This is one of the rare historical examples of op art in photography. Another, contemporary photographer, Noorali Hirani, currently produces photographic op art by employing many of Moholy-Nagy's principles.

From its humble origins as an off-shoot of the influential Bauhaus movement, the popularity of op art endures to this day. Bridget Riley, one of the leading artists behind the original movement, continues to create paintings that are popular not only in the art world, but with the public at large, as well. The work of Stanczak can be found in permanent museum collections all over the United States, as well as his native Poland. Anuskiewicz is considered to be a major painter of our era; a catalogue raisonee of his paintings is due to be published sometime in the coming year. Op art exhibitions continue to be organized throughout the United States and abroad, attesting to the movement's enduring popularity.

Works Cited

Rand, Harry. 1990. Julian Stanczak: Decades of Light. Buffalo: State University of New York.

Ratliff, Floyd. 1996. The Theory of Color and the Practice of Painting. Color Function Painting:

The Art of Josef Albers, Julian Stanczak and…[continue]

Cite This Term Paper:

"OP Art Is A Term" (2008, April 24) Retrieved December 2, 2016, from http://www.paperdue.com/essay/op-art-is-a-term-30405

"OP Art Is A Term" 24 April 2008. Web.2 December. 2016. <http://www.paperdue.com/essay/op-art-is-a-term-30405>

"OP Art Is A Term", 24 April 2008, Accessed.2 December. 2016, http://www.paperdue.com/essay/op-art-is-a-term-30405

Other Documents Pertaining To This Topic

  • Art One Point Linear Perspective in the Renaissance

    Art One-Point Linear Perspective in the Renaissance One-Point Linear Perspective in the Renaissance In the context of art, perspective is generally defined as "… the technique an artist uses to create the illusion of three dimensions on a flat surface" (Essak). Perspective is in essence an illusion of depth and realism in the work of art. It is also an intrinsic part of human evolutionary makeup. As Edgerton ( 2006) states, " Every

  • American Visual Arts During the Cold War Period

    Abstract Expressionist Painting Artistic and Aesthetic Value in American Modernist Art during the Cold War Era Defining American Expressionism American modernism is perhaps one of the most difficult artistic periods to define. Modernism refers to a trend that affirms the power of human beings to create, shape, and make improvements to their environment. Modernism is aided by technological advances and is considered both progressive and optimistic in its approach to defining society. American

  • Commander Defines or Frames a

    For the modern military, command is more an art than a science, but certainly has characteristics of both. The "art of command" requires performance of highly tuned leadership skills combined with intuition and a sense of direction that, most often, cannot be gained through only study or education. Command also requires a conscious exercise of authority so that responsibilities of decision making and leadership can be controlled through delegation

  • Music Since 1900 a Survey of Three

    Music Since 1900 A Survey of Three Works by Ives, Schoenberg, and Barber In the film Legend of 1900, Tim Roth plays an orphan who grows up aboard the SS Virginian, where he becomes a virtuoso piano player, whose styling rivals the greatest Jazz pianists of the early twentieth century. The Italian film is supposed to represent the impermanence of art and the cheapness of capturing a live performance on a record.

  • Vassily Kandinsky A True German

    Kandinsky was unique, however, in his adventurous, abstract, and color-filled endeavors to radically juxtapose: color; light; landscape; music; nature, spirituality, and other essences as a way of expressing meaning within art. Vassily Kandinsky was, indisputably, the founder of abstract expressionist painting. And, though he remained a Russian national up until his death, and fled Germany during World II for a new life in Paris, Kandinsky nevertheless was, in spirit

  • Leadership in Simplistic Terms There

    The authors also find that the firms where these antecedents are most present are those in which either leadership style is highly evident. Firms that lack either leadership style are the lowest performing with respect to quality management. The ultimate objective of any leader is to improve the company's performance. The most basic measures of performance are profit, revenue, market share and other financial statement measures. Even if the leader

  • Menage a Trois Brought Together

    La Mort D'Ophelie, Berlioz -- -Choir Style-Romanticism Unity and Variety-emphasis upon unity Structure of the Music Purpose of the Music Tempo-Adagio Volume-low Rhythm-Consistent Melody-Consistent Harmony-balanced Form-Circular Historical Period-1842 Vier Gesange, Op. 17, Brahms-Choir Style-Enlightenment Unity and Variety Structure of the Music Purpose of the Music Tempo-Adagio Volume-Low Rhythm-Consistent Melody-Consistent Harmony-balanced Form-Enlightenment Historical Period-Mid 1800s Pavane in F-Sharp Minor, Op. 50 Style-Romantic Unity and Variety Structure of the Music Purpose of the Music Tempo-Adagio Volume-Low Rhythm-Consistent Melody-Consistent Harmony-Balanced Form-Romantic Historical Period-1885 Faure - Choir Fantasy in C-Minor For Piano Style-Romantic Unity and Variety-Emphasis upon unity Structure of the Music Purpose of the Music Tempo-Adagio Volume-Low Rhythm-Consistent Melody and Harmony-low pitch Form-Romantic Historical Period-1887 Chorus and Orchesta by Beethoven. Style-Improvisational Unity


Read Full Term Paper
Copyright 2016 . All Rights Reserved