op art

Home > Literature and the Arts > Art and Architecture > American Art

Op art (abbreviation of Optical art, on the analogy of Pop art). A type of abstract art that exploits certain optical phenomena to cause a work to seem to vibrate, pulsate, or flicker. It flourished mainly in the 1960s; the term was first used in print in the American magazine Time in October 1964 and had become a household phrase by the following year, partly through the attention given to the exhibition ‘The Responsive Eye’ held at the Museum of Modern Art, New York, in 1965. This was the first international exhibition with a predominance of Op paintings. The development of Op art as a recognizable movement had begun a few years earlier than this, in about 1960, the works and theories of Josef Albers being among the main sources. The devices employed by Op artists (after-images, effects of dazzle and vibration, and so on) are often elaborations on the well-known visual illusions to be found in standard textbooks of perceptual psychology, and maximum precision is sought in the control of surfaces and edges in order to evoke an exactly prescribed retinal response. Many Op paintings employ repeated small-scale patterns arranged so as to suggest underlying secondary shapes or warping or swelling surfaces. This kind of work can retain much of its effect in reproduction, but Op art also embraces constructions that depend for their effects on light and/or movement, so Op and Kinetic art sometimes overlap.

The two most famous exponents of Op art are Bridget Riley and Victor Vasarely. Their work illustrates the considerable impact that Op made on fashion and design in the 1960s—its instant popular success (accompanied by a fairly cool critical reception) is hard to parallel in modern art. Op art became something of a craze in women's fashion and in 1965 Riley unsuccessfully tried to sue an American clothing company that used one of her paintings as a fabric design. One of Vasarely's designs was used on the plastic carrier bags of France's chain of COOP stores. Among other exponents of Op art the best known is probably the American Richard Anuszkiewicz (1930– ), a former pupil of Albers; his work is typically concerned with radiating expanses of lines and colours.

Op art (abbreviation of Optical art on the analogy of Pop art). A type of abstract art that exploits certain optical phenomena to cause a work to seem to vibrate, pulsate, or flicker. It flourished mainly in the 1960s; the term was first used in print in the American magazine Time in October 1964 and had become a household phrase by the following year, partly through the attention given to the exhibition ‘The Responsive Eye’ held at the Museum of Modern Art, New York, in 1965. This was the first international exhibition with a predominance of Op paintings. The development of Op art as a recognizable movement had begun a few years earlier than this, in about 1960, the works and theories of Josef Albers being among the main sources. The devices employed by Op artists (after-images, effects of dazzle and vibration, and so on) are often elaborations on the well-known visual illusions to be found in standard textbooks of perceptual psychology, and maximum precision is sought in the control of surfaces and edges in order to evoke an exactly prescribed retinal response. Many Op paintings employ repeated small-scale patterns arranged so as to suggest underlying secondary shapes or warping or swelling surfaces. This kind of work can retain much of its effect in reproduction, but Op art also embraces constructions that depend for their effects on light and/or movement, so Op and Kinetic art sometimes overlap. The two most famous exponents of Op art are Bridget Riley and Victor Vasarely. Their work illustrates the considerable impact that Op made on fashion and design in the 1960s—its instant popular success (accompanied by a fairly cool critical reception) is hard to parallel in modern art. Op art became something of a craze in women's fashion and in 1965 Riley unsuccessfully tried to sue an American clothing company that used one of her paintings as a fabric design. One of Vasarely's designs was used on the plastic carrier bags of France's chain of COOP stores. Among other exponents of Op art the best known is probably the American Richard Anuszkiewicz (1930– ), a former pupil of Albers; his work is typically concerned with radiating expanses of lines and colours.

Op art (abbreviation of Optical art, on the analogy of Pop art). A type of abstract art that exploits certain optical phenomena to cause a work to seem to vibrate, pulsate, or flicker. Op art flourished mainly in the 1960s; the term was first used in print in the American magazine Time in October 1964 and had become a household phrase by the following year, partly through the attention given to the exhibition ‘The Responsive Eye’ held at the Museum of Modern Art, New York, in 1965. This was the first international exhibition with a predominance of Op paintings. The development of Op art as a recognizable movement had begun a few years earlier than this, in about 1960, the works and theories of Josef Albers being among the main sources. The devices employed by Op artists (afterimages, effects of dazzle and vibration, and so on) are often elaborations on the well-known visual illusions to be found in standard textbooks of perceptual psychology, and maximum precision is sought in the control of surfaces and edges in order to evoke an exactly prescribed retinal response. Many Op paintings employ repeated small-scale patterns arranged so as to suggest underlying secondary shapes or warping or swelling surfaces. This kind of work can retain much of its effect in reproduction, but Op art also embraces constructions that depend for their effects on light and/or movement, so Op and Kinetic art sometimes overlap.

The two most famous exponents of Op art are Bridget Riley and Victor Vasarely. Their work illustrates the considerable impact that Op made on fashion and design in the 1960s—its instant popular success (accompanied by a fairly cool critical reception) is hard to parallel in modern art. Op art became something of a craze in women's fashion and in 1965 Riley unsuccessfully tried to sue an American clothing company that used one of her paintings as a fabric design. One of Vasarely's designs was used on the plastic carrier bags of France's chain of COOP stores. Other leading artists whose work falls mainly or partly within the category of Op include Agam, Anuszkiewicz, Cruz-Diez, Sedgeley, and Soto. See also PERCEPTUAL ABSTRACTION.

op art , movement that became prominent in the United States and Europe in the mid-1960s. Deriving from abstract expressionism , op art includes paintings concerned with surface kinetics. Colors were used in creating visual effects, such as afterimages and trompe-l'oeil. Vibrating colors, concentric circles, and pulsating moiré patterns were characteristic of op works by such artists as Victor Vasarely , Richard Anusziewicz, Bridget Riley , Yaacov Agam, and Larry Poons. A comprehensive exhibition of op art, entitled "The Responsive Eye," was organized by the Museum of Modern Art, New York City, in 1965.

op art (also op·ti·cal art) • n. a form of abstract art that gives the illusion of movement by the precise use of pattern and color, or in which conflicting patterns emerge and overlap. Bridget Riley and Victor Vasarely are its most famous exponents.

op art (optical art) US abstract art movement, popular in the mid-1960s. It relies on optical phenomena to confuse the viewers' eye and to create a sense of movement on the surface of the picture. Leading exponents include Victor Vasarély, Kenneth Noland, and Bridget Riley.

op art optical art