Op Art
Published on Nov 25, 2015
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Op Art
In October of 1964, in an article describing this new style of art, Time Magazine coined the phrase "Optical Art" (or "Op Art", as it's more commonly known).
Op art works are abstract, with many of the better known pieces made in black and white. When the viewer looks at them, the impression is given of movement, hidden images, flashing and vibration, patterns, or alternatively, of swelling or warping.
OP-ART is a short term for optical art.
When you look at the drawing, you get the impression of movement and hidden images that appear and disappear, vibrations, modules or images that expand and shrink.
The term referenced the fact that Op Art is comprised of illusion, and often appears - to the human eye - to be moving or breathing due to its precise, mathematically-based composition.
Photo by Leo Reynolds
As an "official" movement, Op Art has been given a life-span of around three years. This doesn't mean, though, that every artist ceased employing Op Art as their style by 1969. Bridget Riley is one noteworthy artist who has moved from achromatic to chromatic pieces, but has steadfastly created Op Art from its beginning to the present day. Additionally, anyone who has gone through a post-secondary fine arts program probably has a tale or two of Op-ish projects created during color theory studies.
Photo by watz
What are the key characteristics of Op Art?
First and foremost, Op Art exists to fool the eye. Op compositions create a sort of visual tension, in the viewer's mind, that gives works the illusion of movement. For example, concentrate on Bridget Riley's Dominance Portfolio, Blue (1977) - for even a few seconds - and it begins to dance and wave in front of one's eyes. Realistically, you know any Op Art piece is flat, static and two-dimensional. Your eye, however, begins sending your brain the message that what it's seeing has begun to oscillate, flicker, throb and any other verb one can employ to mean: "Yikes! This painting is moving!"
Photo by Leo Reynolds
Because of its geometrically-based nature, Op Art is, almost without exception, non-representational.
The elements employed (color, line and shape) are carefully chosen to achieve maximum effect.
The critical techniques used in Op Art are perspective and careful juxtaposition of color (whether chromatic [identifiable hues] or achromatic [black, white or gray]).
In Op Art, as in perhaps no other artistic school, positive and negative spaces in a composition are of equal importance. Op Art could not be created without both.
Photo by paloetic
Because of its geometrically-based nature, Op Art is, almost without exception, non-representational.
The elements employed (color, line and shape) are carefully chosen to achieve maximum effect.
The critical techniques used in Op Art are perspective and careful juxtaposition of color (whether chromatic [identifiable hues] or achromatic [black, white or gray]).
In Op Art, as in perhaps no other artistic school, positive and negative spaces in a composition are of equal importance. Op Art could not be created without both.
Photo by paloetic
