OP ART - Opart - Modern Art History - 157 Slides

OP ART -  Opart - Modern Art History - 157 Slides
OP ART -  Opart - Modern Art History - 157 Slides
OP ART -  Opart - Modern Art History - 157 Slides
OP ART -  Opart - Modern Art History - 157 Slides
OP ART -  Opart - Modern Art History - 157 Slides
OP ART -  Opart - Modern Art History - 157 Slides
OP ART -  Opart - Modern Art History - 157 Slides
OP ART -  Opart - Modern Art History - 157 Slides
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This is a complete presentation on Op Art in Art History. THERE ARE MANY ACTUAL SLIDES FOR YOUR REVIEW IN THE PREVIEW. THIS IS YOUR BEST INDICATION OF PRODUCT QUALITY.

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EXCERPT: BULLET POINTS FROM OP ART OVERVIEW
-- style of abstract art which uses optical illusions and the interaction of color relationships.
-- viewer seems to see movement within the art work when there is none.
-- foreground and background are placed into juxtaposition.
-- vibrating patterns, swelling and warping are frequently used illusions.
-- followed Bauhaus use of color: concentrating on the effects colors had on the viewer’s eye.
-- Op Art’s years of greatest success were in the mid-1960s.
-- As a movement it would not survive the late 1960s but artists continued to paint it
-- Most of the Op Artists stuck with it till their dying days (end of 20th century or start of 21st).
-- “Theory of Colors” by Goethe gives the cornerstone of op art with the principle: “at the edge, where light and dark meet, color arises.”
-- Floyd Ratliff’s book, “The Theory of Color and the Practice of Painting” presents these 3 color theories used by Op Art: simultaneous contrast; successive contrast; and reverse contrast (or assimilation).
-- There was first a French Exhibition called “Le Mouvement", a group exhibition at Galerie Denise Rene in 1955.
-- in 1964 in America, Julian Stanczak's show, “Optical Paintings at the Martha Jackson Gallery”, was the leading edge event to push the movement forward into the mainstream.
-- in the post WWII art world, an art movement had to succeed in New York as it was now the art capital, not Paris.
-- Time Magazine called the movement “Op Art” after covering that show.
-- artists intended on calling it Perceptual Art but, once Time Magazine coined the term Op Art, nothing could dislodge it.
-- next important show was “The Responsive Eye”, in 1965 at the Museum of Modern Art (MOMA).
-- With attendance of over 180,000 at the MOMA exhibit, Op Art became an immediate and enormous hit with the public.
-- Critics did not like Op Art, dismissing it as just clever visual tricks.
-- Op Art had this high-brow aversion coupled with massive popular appeal.
-- Art critic Clement Greenberg was vehemently opposed to the movement.
-- Critics’ scorn grew worse as fashion industry adopted Op Art for seemingly every product it had (see next slide).
-- timing for Op Art was right as this was the psychedelic 1960s. The music, fashion and drug use, especially LSD, fit in with Op Art. Altering reality and perception was all the rage (slide after next).
Total Pages
157 pages
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