![]() ![]() The artist known as the grandfather of optical art is French-Hungarian artist Victor Vasarely, whose painting titled Zebras (1938) is by many art historians considered one of the earliest examples of Op Art. Albers works are studies in colour perception, while Escher’s work employs paradoxical placements, visual trickery as well as errors of perspective in forms and structures that seem plausible at first glance. Escher, Victor Vasarely and Josef Albers experimented with what is now considered optical art. Futurism, Italian Futurismo, Russian Futurizm, early 20th-century artistic movement centred in Italy that emphasized the dynamism, speed, energy, and power of the machine and the vitality, change, and restlessness of modern life. ![]() another example of how Cubist paintings correct the distortions of perspective. The German school stressed the relationship of form and function within a framework of analysis and rationality, which led to mirroring the counterculture of the time in the embrace of graphic shapes and bright colours. In 1912, the writer and art critic Jacques Rivire argued that linear. ![]() Cubism influenced later artists and art movements, inspiring Dadaism, Surrealism, Futurism, Suprematism, Constructivism, De Stijl, and Pop art. The roots of Op Art, in terms of graphic and colour effects, can be traced back to Impressionism, Cubism, Futurism and Dada, but the movement perhaps more closely derives from the constructivist practices of the Bauhaus. Cubism is unique in terms of its overall look, but many art movements that developed later in the 20th century used many techniques that were staples of the Cubist aesthetic. The principles and concepts that define cubist artworks are that objects/subjects are broken up, analyzed, and re-assembled in abstracted forms. ![]()
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