Optical Art Quotes

... all life rests on appearance, art, illusion, optics, the need for perspective and for error...

Isn’t all artwork—or all decent art—a mirror? Might a great painting not even reformulate the question what is it about to what am I about? Isn’t theory also in some sense always autobiography?

Love? What is it? The most natural painkiller what there is.” You may become curious, though, about what happened to that painkiller should depression take hold and expose your love—whatever its object—as just one of the many intoxicants that muddled your consciousness of the human tragedy. You may also want to take a second look at whatever struck you as a person, place, or thing of “beauty,” a quality that lives only in the neurotransmitters of the beholder. (Aesthetics? What is it? A matter for those not depressed enough to care nothing about anything, that is, those who determine almost everything that is supposed to matter to us. Protest as you like, neither art nor an aesthetic view of life are distractions granted to everyone.) In depression, all that once seemed beautiful, or even startling and dreadful, is nothing to you. The image of a cloud-crossed moon is not in itself a purveyor of anything mysterious or mystical; it is only an ensemble of objects represented to us by our optical apparatus and perhaps processed as a memory.

I don’t want to see landscapes, i.e. scenic paintings of them, because I don’t want to see the original realities – as optical effects that is. I want to see the deeper reality underlying the scenic, the expression of what are sometimes called abstract imaginings. The ‘simply natural’ is interesting no longer.

Mal administrada, la historia del arte puede ser letal como la estricnina.

The fact was that Elstir’s intent, not to show things as he knew them to be, but in accordance with the optical illusions that our first sight of things is made of, had led him to isolate some of these laws of perspective, which were more striking in his day, art having been first to uncover them.

el estilo es un medio para insistir sobre algo.

And this is what I mainly learned up there, that the Parthenon was not a thing to study but to feel. It wasn't aloof, rational, timeless, pure. I couldn't locate the serenity of the place, the logic and steady sense. It wasn't a relic species of dead Greece but part of the living city below it. This was a surprise. I'd thought it was a separate thing, the sacred height, intact in its Doric order. I hadn't expected a human feeling to emerge from the stones but this is what I found, deeper than the art and mathematics embodied in the structure, the optical exactitudes. I found a cry for pity.

He must have faltered at the thought of how to balance the reflections that bounce from one figure to another and to control the myriad variables of light, shade, and emotions for such a multitude,” according to the art historian Francesca Fiorani. “Unlike any other artist, he could not ignore an optical problem.”34 It was an unnerving set of iterative tasks. All thirty characters had to reflect light and project shade that would influence, and be influenced by, the light and shadows of those around them. They also had to initiate and reflect emotions, which in turn affected, and were affected by, the emotions emanating from those around them.

Leonardo refuted this by arguing that painting is not only an art but also a science. In order to convey three-dimensional objects on a flat surface, the painter needs to understand perspective and optics. These are sciences that are grounded in mathematics. Therefore, painting is a creation of the intellect as well as the hands.

Somehow, those Russian artists were able to reduce everything to nothing in order to expose more than we knew was there. It’s about balance and optics, tension and texture. But more than that, it’s about the unconscious. Art that we like but we don’t quite know why. Malevich, Tatlin, Rodchenko, Popova and Lissitzky were brilliant visionaries, the pioneers of the first totally abstract art.

Nonna tucked each of her hands into the opposite sleeve, a wizened Confucius in a leopard bathrobe. "Michelangleo, he goes. For days and days he stays away from Elisabetta. The other girls, the prettier girls, have hope again. And then, there he goes once more, carrying only his nonno's ugly old glass-his telescope-and a bag of figs. These he lays at her feet. "'I see you,' he tells her. 'Every day for months, I watch. I see you. Where you sit, the sea is calm and dolphins swim near you. I see your mended net looks like a lady's lace. I see you dance in the rain before you run home. I see the jewel mosaic you leave to be scattered and remade again and again, piu bella than gold and pearls. You are piu bella than any other, queen of the sea. "'You do not need silk or pearls. I see that. But they are yours if you wish. I am yours if you wish.If you like what you see.' He gives her the glass. She takes it. Then she asks, 'What about the figs? My bisnonno, he laughs. 'It might take time, your looking to see if you like me. I bring lunch.'" Nonna slapped her knee again, clearly delighted with little Michelangelo's humor. "There is the love story. You like it?" I swallowed another yawn. "Si, Nonna.It's a good story." I couldn't resist. "But...a talking seagull? A dolphin guide? That kinda stretches the truth, dontcha think?" Nonna shrugged. "All truth, not all truth, does it matter? My nonno Guillermo came to Michelangelo and Elisabetta, then my papa Euplio to him, then me, your papa, you." She lowered her feet to the floor. Then pinched my cheek. Hard. Buona notte, bellissima." "Okay,Nonna." I yawned and pulled the white eyelet quilt up.I'd inked abstract swirl-and-dot patterns all over it when I redecorated my room. They're a little optic when I'm that tired. "Buona notte." As I was dozing off,I heard her rummaging in the linen cupboard next to my door. Reorganizing again, I though. She does that when Mom can't see her. They fold things completely different ways.

David Hockney, among other historians and advocates of the Hockney–Falco thesis, has speculated that Vermeer used a camera obscura to achieve precise positioning in his compositions, and this view seems to be supported by certain light and perspective effects. The often-discussed sparkling pearly highlights in Vermeer’s paintings have been linked to this possible use of a camera obscura, the primitive lens of which would produce halation. Exaggerated perspective can be seen in Lady at the Virginals with a Gentleman (London, Royal Collection). Vermeer’s interest in optics is also attested in this work by the accurately observed mirror reflection above the lady at the virginals. However, the extent of Vermeer’s dependence upon the camera obscura is disputed by historians. There is no historical evidence. The detailed inventory of the artist’s belongings drawn up after his death does not include a camera obscura or any similar device. Scientific evidence is limited to inference. Philip Steadman has found six Vermeer paintings that are precisely the right size if they were inside a camera obscura where the back wall of his studio was where the images were projected.

Humans experience themselves, their thoughts, and feelings as something separated from the rest, a kind of optical delusion of their consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us. Our task must be to free ourselves from this prison by widening our circle of love and compassion to embrace all living creatures and the whole of nature in its beauty.3 Our

Seurat took to heart the color theorists' notion of a scientific approach to painting. He believed that a painter could use color to create harmony and emotion in art in the same way that a musician uses counterpoint and variation to create harmony in music. He theorized that the scientific application of color was like any other natural law, and he was driven to prove this conjecture. He thought that the knowledge of perception and optical laws could be used to create a new language of art based on its own set of heuristics and he set out to show this language using lines, color intensity and color schema. Seurat called this language Chromoluminarism.[27] In a letter to the writer Maurice Beaubourg in 1890 he wrote: "Art is Harmony. Harmony is the analogy of the contrary and of similar elements of tone, of colour and of line. In tone, lighter against darker. In colour, the complementary, red-green, orange-blue, yellow-violet. In line, those that form a right-angle. The frame is in a harmony that opposes those of the tones, colours and lines of the picture, these aspects are considered according to their dominance and under the influence of light, in gay, calm or sad combinations".[29][30] Seurat's theories can be summarized as follows: The emotion of gaiety can be achieved by the domination of luminous hues, by the predominance of warm colors, and by the use of lines directed upward. Calm is achieved through an equivalence/balance of the use of the light and the dark, by the balance of warm and cold colors, and by lines that are horizontal. Sadness is achieved by using dark and cold colors and by lines pointing downward

The photograph not only stops time, Benjamin argues, but also works to project the future out of the past. The photograph is a forward-looking document, so to speak, anticipating a future viewer who will recognise in it a spark of contingency that cannot be contained to one temporal moment. As Benjamin puts it in his "Little History of Photography": "No matter how artful the photographer, no matter how carefully posed his subject, the beholder feels an irresistible urge to search such a picture for the tiny spark of contingency, of the here and now, with which reality has (so to speak) seared the subject, to find the inconspicuous spot where in the immediacy of that long-forgotten moment the future nests so eloquently that we, looking back, may rediscover it.

Of a young actress: “She is pretty, and tactfully concerned that the optical pleasure she provides shall not be disturbed by technical requirements any more than necessary.

It is scarcely an exaggeration to say that mechanical invention until the thirteenth century A.D. owed a greater debt to warfare than to the arts of peace. This holds over long stretches of history. The Bronze Age chariot preceded the general use of wagons for transportation, burning oil was used to repel enemies besieging a city before it was employed for powering engines or heating buildings: so, too, inflated life preservers were used by Assyrian armies to cross rivers thousands of years before 'water-wings' were invented for civilian swimming. Metallurgical applications, too, developed more rapidly in the military than in the civilian arts: the scythe was attached to chariots for mowing down men before it was attached to agricultural mowing machines; while Archimedes' knowledge of mechanics and optics was applied to destroying the Roman fleet attacking Syracuse before it was put to any more constructive industrial use. From Greek fire to atom bombs, from ballistas to rockets, warfare was the chief source of those mechanical inventions that demanded a metallurgical and chemical background.

For Aristotle, it was the role of the Sun to bring about the fusion of the Forms with Matter.51

3. Plato, Timaeus 56c–57c. Plato’s devotion to mathematics is well-known, and this influence on Ficino is discussed below. Lindberg points out that, for Plato, “the cosmos is essentially mathematical.” Plato considered, “not that the elements have triangular shapes, but that the elements ultimately are triangular shapes.” The transformation of the elements is “the dissolution and recombination of triangles.” For Plato, “‘mathematical objects are closer to the Forms than physical [objects are]

But again, nowhere in the process would we need to assign moral blame to a tornado. And so, why do we do it with ourselves? Are we so conceited to think that, somehow, we are the only thing separate from nature, above it, the only being that can somehow escape what nature has propelled forth? We are conscious, but what formed our consciousness? “A human being,” wrote Albert Einstein, “is a part of the whole, called by us ‘Universe,’ a part limited in time and space. He experiences himself, his thoughts and feelings as something separated from the rest, a kind of optical delusion of his consciousness.” 3.

Often, what we see in art is a reflection of us. Of our optics. Our mindset. Have you ever tried to read a novel and not enjoyed it, then gone back at another point in time and loved it? The story didn’t change. But you did. This is an insight into who we are at any given moment and what we bring to our unique intersection with art.

In The New Swedish Art from 1923, a publication that attempts to describe contemporary currents in Swedish art labelled as ‘modern’, the modern artist is imagined as standing freer than during the 19th century: ‘He no longer wishes merely to replicate, but to create. He does no longer strive for optical illusion, but for artistic synthesis’. This seems true if comparing the techniques of a so-called modern artist with the academic painting principles of the 19th century.

Texture and pattern are two of the elements and principals of art that help

Un príncipe ruso que disputaba por uno de sus cuadros dijo: «Robert quiere que le paguen a la misma velocidad en que él ejecuta sus pinturas. Pinta cuadros como si escribiera cartas». Pero también había algo en esa técnica abocetada que se fundía a la perfección con el tema: como si el artista hubiese sido interrumpido por un terremoto en medio del trabajo, como si en un mundo precario terminar algo ya no tuviese sentido.

The "Mona Lisa" is an optical illusion created by Leonardo Da Vinci. The woman in the painting "The Mona Lisa" doesn't appear to be always smiling. When you look at the mouth you feel she looks sad, melancholic, and hostile. But when you look at the eyes you feel she is happy and cheerful. Leonardo perfected the "sfumato technique," which translated literally from Italian means "vanished or evaporated." He created imperceptible transitions between light and shade, and sometimes between colors. "Why the Silhouette?" appears as a simple story of a few individuals, but when you look at it from a distance, it appears to show you the philosophy of life. I have tried to create imperceptible transitions between light and darkness and sometimes between colors. Hope you see the illusion in "Why the Silhouette?

If you want to make a color brighter, you put it next to its complementary color, its opposite on the color wheel. It doesn’t actually change the color, but it looks that way.” “The fact that Gabriel and I worked well together was just an optical illusion?” “But if you mix those complementary colors together, they create the darkest shadows.” She scrunches her nose. “Please tell me this analogy isn’t about sex.” “Of course it’s about sex. Art is always about sex. That’s the second thing I learned as an artist.

The story of optics and perspective goes back to a giant among geometers: Euclid. Around 300 bc, this Greek scholar wrote the seminal textbook on mathematics. It was called Elements, and remained the bestselling text — apart from the Bible — for more than 1,000 years.

On the table beside the bowl, a peach is cut in half, revealing its pit. This use of light may support speculation among art historians that Vermeer used a mechanical optical device, such as a double concave lens mounted in a camera obscura, to help him achieve realistic light patterns in his paintings.

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At its heart, Roger Bacon’s vision of science owes a great deal to the Neoplatonist inheritance or even Saint Augustine. For Bacon, it was the inner light of reason that stirs our desire to unlock the mysteries of nature and art, including the divine light around us: one reason Bacon was so fascinated with the science of optics.

2.