Sentences with phrase «op art effects»

, 2015 also sideswipe racial connotation with color as racial terminology, while also ratcheting up the artist's litany of Op art effects, ranging from Mr. Ryman's sly use of chromatic underpainting to Jasper Johns» shifting avalanche of cross-hatch marks.

Larger works like DNA: Black Painting: Ph Bk / B Cert: II, 2015 also sideswipe racial connotation with color as racial terminology, while also ratcheting up the artist's litany of Op art effects, ranging from Mr. Ryman's sly use of chromatic underpainting to Jasper Johns» shifting avalanche of cross-hatch marks.

Not exact matches

Op» Art effect (equivalent in France is artist Vasarely).

Touching on formal elements such as color theory and Op Art, we will explore the visual effects created within works of art including, but not limited to: pattern, repetition, design, composition, Gestalt psychology and all forms of optical razzle dazzle that will make the cones and rods in our eyes forget which way is Art, we will explore the visual effects created within works of art including, but not limited to: pattern, repetition, design, composition, Gestalt psychology and all forms of optical razzle dazzle that will make the cones and rods in our eyes forget which way is art including, but not limited to: pattern, repetition, design, composition, Gestalt psychology and all forms of optical razzle dazzle that will make the cones and rods in our eyes forget which way is up.

Enhancing the op - art effect that has before teetered on the threshold, these delineations insist that the eye must roam continuously across the exuberant canvas.

After decades of Op Art, Bridget Riley still makes one's head spin, but without side - effects.

The stage was set for Op Art, with its high contrast and psychedelic effects to take hold of the fashion world's imagination.

The effect recalls Op Art from the 1960s, which brought dynamism to seeing aArt from the 1960s, which brought dynamism to seeing artart.

Around 1960 she began to develop her signature Op Art style consisting of black and white geometric patterns that explore the dynamism of sight and produce a disorienting effect on the eye.

On close inspection, the lines of colour patterns jangle and jar with our vision, creating an unsettling optical effect rather like the Op art of Bridget Riley.

The restricted black and white designs display my attraction in sharp contrasting Op - Art visual effects.

Referencing both historical and contemporary uses of illusion, Knox challenges an understanding of special effects that relies on a linear conception of technological evolution, and incorporates devices that range from trompe l'oeil, proto - cinema and dioramas, to op art, video, cinema and computer games.

I break the clean - cut compositions or the so called «Op art» effect by adding loose brushstrokes, by placing hand carved wood panels in front of my «clean» wall paintings and my monochrome surfaces and thus break them with a rough gesture.

Michael Kidner was described by American art historian and critic Irving Sandler as «arguably the first Op Artist in Britain», following his investigations of the optical effects of light, color and systemic structure during the 1960s.

The software's special - effects functions distort and color the shapes, turning them into vividly psychedelic Op art.

A refinement of Hard Edge Painting, Op - Art was a type of non-objective art which employed black and white geometric patterns to create a variety of optical effects on the viewer's physiology and psychology of perceptiArt was a type of non-objective art which employed black and white geometric patterns to create a variety of optical effects on the viewer's physiology and psychology of perceptiart which employed black and white geometric patterns to create a variety of optical effects on the viewer's physiology and psychology of perception.

In Op Art, colors could produce a kinetic visual effect or illusion simply by the way in which an artist placed two or more colors in proximity.

By constantly developing «Neometry» (a geometric based Op - art made with a primarily neon based palette, as he titled his work), the artist produced some of his most complex pieces yet — in terms of sizes, shapes, colors, and general concepts or visual effects.

Emerging from her studies about the time of the Op Art movement and that seminal exhibition, The Responsive Eye, presented at the Museum of Modern Art in New York in 1965 and organized by William C. Seitz, Rector could not help but be influenced by the hard - edge structures, dizzying lines, geometric forms and high key and high contrast colors that created optical and illusory effects challenging visual perception.

The mid-twentieth century Op art or optical art style of painting and graphics exploited such effects to create the impression of movement and flashing or vibrating patterns seen in the work of artists such as Bridget Riley, Spyros Horemis, [185] and Victor Vasarely.

Artworks with moving components or art that gives the impression of movement through optical effects, as with some examples of Op Aart that gives the impression of movement through optical effects, as with some examples of Op ArtArt.

Around 1960 she began to develop her signature Op Art style consisting of black and white geometric patterns that explore the dynamism of sight and produce a disorienting effect on the eye and produces movement and color.

The Op Art movement refers to paintings and sculptures that use illusions or optical effects.

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.

By the 1960s, the main effects of Abstract Expressionism had been thoroughly absorbed, although its themes and techniques continued to influence later artists from a variety of different schools, including Op Art, Fluxus, Pop Art, Minimalism, Post-Minimalism, Neo-Expressionism, and others.

These so - called «Op - art» pieces produce a disorienting physical effect on the eye, a bit like the «optical flutter» I feel when looking at Piet Mondrian's Broadway Boogie Woogie, painted in the 40s when captivated by American jazz.

These so - called «Op - art» pieces, such as Fall, 1963 (Tate Gallery T00616), produce a disorienting physical effect on the eye.