Art & Physics 8: The Beginnings Of The Modern Age
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Art & Physics 8: The Beginnings of the Modern Age II
Art & Physics
1
Art & Physics 8: The Beginnings of the Modern Age II
The artist is always engaged in writing a detailed history of the future because he is the only person aware of the nature of the present. Percy Wyndham Lewis (1884-1963)
2
Art & Physics 8: The Beginnings of the Modern Age II
3
It was not until the 19th century that three mathematicians discovered alternatives to the geometry of Euclid.
Karl Friedrich Gauss (1777-1855) German mathematician
Nikolai Lobachevsky (1792-1856) Russian mathematician
Janos Bolyai (1802-1860) Hungarian mathematician
They discovered a geometry in which the angles of a triangle add up to less than 180°
Art & Physics 8: The Beginnings of the Modern Age II
4
In 1854, Riemann proposed a non-Euclidean geometry in which the sum of the angles of any triangle are greater than 180°, there are no parallel lines and the shortest distance between two points is an arc. Euclid Space is flat, unbounded & infinite. An explorer travelling in a straight line would continue for ever.
Georg Riemann (1826-1866)
Riemann Space is curved, bounded & finite. An explorer travelling in a straight line would arrive back where he started.
In elliptical geometry, the angles of a triangle can add up to 270°
Art & Physics 8: The Beginnings of the Modern Age II
5
What would the world be like in curved space? Objects in curved space could not maintain their form but would change depending on their location. Is the space we inhabit curved?
+ve curvature angles >180° parallel lines may cross
There are 3 possible geometries.
no curvature angles =180° parallel lines never cross
-ve curvature angles <180° parallel lines may diverge
Art & Physics 8: The Beginnings of the Modern Age II To imagine the shape of objects in a non-Euclidean world, you have to visualize distortions not present in our Euclidean world. This is what the Impressionists were doing in the 19th century. In the middle of the 19th century, France was the centre of the art world and the Academy dictated what constituted art. Their decision on whether an artist’s work was acceptable for exhibition in the official salon determined whether or not an artist would enjoy commercial success. One of their basic requirements was that art had to be understood. One group of artists decided to rebel against this conformist attitude and in 1863 organized their own exhibition known as the Salon des Refusés. Many art historians regard this event as marking the beginning of modern art, and the painting that started it all was...
6
Art & Physics 8: The Beginnings of the Modern Age II
Le Déjeuner sur l’herbe (Édouard Manet, 1863)
7
Art & Physics 8: The Beginnings of the Modern Age II
Defied perspective No clear vanishing point No middle ground Defied light & shadow No logical consistency No story Not picturesque No mythology No easy interpretation Challenged Euclidean space and Aristotelian time Le Déjeuner sur l’herbe, 1863 (Édouard Manet, 1832-1883)
8
Art & Physics 8: The Beginnings of the Modern Age II
Concert champêtre (c. 1508) - Giorgioni (Givanni Bellini, 1478-1510), Titian (Tiziano Vecellio, 1488-1576)
9
Art & Physics 8: The Beginnings of the Modern Age II
Déjeuner sur l’herbe (Pablo Picasso, 1962)
10
Art & Physics 8: The Beginnings of the Modern Age II
Music in the Tuileries (Édouard Manet, 1862)
11
Art & Physics 8: The Beginnings of the Modern Age II In • • • •
Music in the Tuileries (1862) we note: a chaotic scene with no central character or focus no clear vanishing point no perpendicular lines (no horizon, no vertical lines) the tree trunks are all curved (though in reality they are not)
Manet’s intention seems to be to challenge (and perhaps change) the viewer’s notion of space.
12
Art & Physics 8: The Beginnings of the Modern Age II
horizontal horizon (curved)
13
Art & Physics 8: The Beginnings of the Modern Age II Manet was the first artist in the Western world of art to curve the horizon.
The Beach at Sainte-Adresse (Édouard Manet, 1867)
14
Art & Physics 8: The Beginnings of the Modern Age II
On the Beach (Édouard Manet, 1873)
15
Art & Physics 8: The Beginnings of the Modern Age II Eventually he removed the horizon and vanishing point completely from the picture.
Boating (Édouard Manet, 1874)
16
Art & Physics 8: The Beginnings of the Modern Age II
(Édouard Manet, 1862)
17
Art & Physics 8: The Beginnings of the Modern Age II While Édouard Manet was experimenting with the perception of space, Claude Monet began experimenting with the perception of time. 1840-1926 To show how an object changes with time, Monet began painting scenes viewed from the same position, but at different times of the day, even at different seasons. He called the style Instantaneity. Among the time series he produced are: Rouen cathedral (40 paintings at different times of the day) Haystacks in Giverny (20 paintings at different times of the year) Gare St.-Lazare
18
Art & Physics 8: The Beginnings of the Modern Age II
Rouen Cathedral in dull weather
1894
Rouen Cathedral in full sunlight
19
Art & Physics 8: The Beginnings of the Modern Age II
Gare Sainte-Lazare 1877
20
Art & Physics 8: The Beginnings of the Modern Age II 21 In Monet’s scheme of painting, an object must have duration as well as three extensions in space. Such ideas were also being discussed in literature: “Clearly, any real body must have extension in four directions: it must have length, breadth, thickness and duration…There are really four dimensions, three of which we call the three planes of space, and the fourth, time.” H.G. Wells (The Time Machine) A mathematical line cannot exist. A mathematical plane cannot exist. Can a cube with length, breadth and width exist? Only if it has duration as well. An instantaneous cube cannot exist.
Art & Physics 8: The Beginnings of the Modern Age II In 1881, Monet retreated to his house at Giverny, where he spent the rest of his life painting his garden - especially the water-lily pond. He became interested in what was in the water, on the water and reflected upon the water - the distinction being increasingly blurred with time until they became almost totally abstract.
22
Art & Physics 8: The Beginnings of the Modern Age II
23
Art & Physics 8: The Beginnings of the Modern Age II
24
Art & Physics 8: The Beginnings of the Modern Age II
Japanese Bridge at Giverny (1900)
25
Art & Physics 8: The Beginnings of the Modern Age II
26
Monet was not so much concerned with the geometry of shapes and forms as with the massing of colours to gain an “impression” of the scene.
Rather than trying to reproduce the nature of light within a studio, Monet captured the nature of light en plein air.
Monet Working in His Boat (Édouard Manet, 1874)
Art & Physics 8: The Beginnings of the Modern Age II
27
Paul Cézanne (1839-1906) took the opposite approach from Monet and abandoned the convention of linear light. Consequently, his paintings are timeless - you cannot tell at which time they were painted. The source and direction of light are not discernible. The light suffuses the painting rather than shines across it. • • • •
No gray days No foggy days No seasonal effects etc..
In Cézanne’s paintings, light is not an optical phenomenon to be investigated. Rather, it is a uniform and enduring light.
Mont Sainte Victoire Paul Cézanne (1902-4)
Art & Physics 8: The Beginnings of the Modern Age II
28
Instead of eliminating the single-point perspective, Cézanne introduced the revolutionary multi-point perspective. Objects were portrayed as if seen from different viewing positions.
His intention was to show how our visual perception of the world is composed of interlocking planes.
Art & Physics 8: The Beginnings of the Modern Age II Manet curved space; Cézanne fractured space.
29
Art & Physics 8: The Beginnings of the Modern Age II This idea destroyed the notion of a single privileged frame of reference (and thus visually pre-figured the basis of Einstein’s later theory of relativity which banned the concept of an absolute frame of reference).
Table, napkin and fruit (1895-1900)
30
Art & Physics 8: The Beginnings of the Modern Age II In science at that time space was considered as empty and had no effect on matter (or vice versa). In Cézanne’s paintings, matter (mass) and space fuse interactively together.
The Garden at Les Lauves, 1906
31
Art & Physics 8: The Beginnings of the Modern Age II
1885-95
1897-98
Mont Sainte-Victoire
32
1900
1902-04
Art & Physics 8: The Beginnings of the Modern Age II
1901
Mont Sainte-Victoire
1902
33
Art & Physics 8: The Beginnings of the Modern Age II
1885-7
1886
34
1897
Mont Sainte-Victoire
1904
Art & Physics 8: The Beginnings of the Modern Age II Cézanne’s paintings, with their attack on the conventions of perspective and the accepted views of space and time, showed that the Euclidean approach was not the only way to view the world. Once people began to see space in a nonEuclidean way, they could then begin to think about it in a new way too….. …which is what scientists began to do at the turn of the century.
Self portrait 1879-82
Self portrait 1894
35
Art & Physics 8: The Beginnings of the Modern Age II
Creation (Michelangelo Buonarroti, 1475 - 1564)
36
Art & Physics
1
Art & Physics 8: The Beginnings of the Modern Age II
The artist is always engaged in writing a detailed history of the future because he is the only person aware of the nature of the present. Percy Wyndham Lewis (1884-1963)
2
Art & Physics 8: The Beginnings of the Modern Age II
3
It was not until the 19th century that three mathematicians discovered alternatives to the geometry of Euclid.
Karl Friedrich Gauss (1777-1855) German mathematician
Nikolai Lobachevsky (1792-1856) Russian mathematician
Janos Bolyai (1802-1860) Hungarian mathematician
They discovered a geometry in which the angles of a triangle add up to less than 180°
Art & Physics 8: The Beginnings of the Modern Age II
4
In 1854, Riemann proposed a non-Euclidean geometry in which the sum of the angles of any triangle are greater than 180°, there are no parallel lines and the shortest distance between two points is an arc. Euclid Space is flat, unbounded & infinite. An explorer travelling in a straight line would continue for ever.
Georg Riemann (1826-1866)
Riemann Space is curved, bounded & finite. An explorer travelling in a straight line would arrive back where he started.
In elliptical geometry, the angles of a triangle can add up to 270°
Art & Physics 8: The Beginnings of the Modern Age II
5
What would the world be like in curved space? Objects in curved space could not maintain their form but would change depending on their location. Is the space we inhabit curved?
+ve curvature angles >180° parallel lines may cross
There are 3 possible geometries.
no curvature angles =180° parallel lines never cross
-ve curvature angles <180° parallel lines may diverge
Art & Physics 8: The Beginnings of the Modern Age II To imagine the shape of objects in a non-Euclidean world, you have to visualize distortions not present in our Euclidean world. This is what the Impressionists were doing in the 19th century. In the middle of the 19th century, France was the centre of the art world and the Academy dictated what constituted art. Their decision on whether an artist’s work was acceptable for exhibition in the official salon determined whether or not an artist would enjoy commercial success. One of their basic requirements was that art had to be understood. One group of artists decided to rebel against this conformist attitude and in 1863 organized their own exhibition known as the Salon des Refusés. Many art historians regard this event as marking the beginning of modern art, and the painting that started it all was...
6
Art & Physics 8: The Beginnings of the Modern Age II
Le Déjeuner sur l’herbe (Édouard Manet, 1863)
7
Art & Physics 8: The Beginnings of the Modern Age II
Defied perspective No clear vanishing point No middle ground Defied light & shadow No logical consistency No story Not picturesque No mythology No easy interpretation Challenged Euclidean space and Aristotelian time Le Déjeuner sur l’herbe, 1863 (Édouard Manet, 1832-1883)
8
Art & Physics 8: The Beginnings of the Modern Age II
Concert champêtre (c. 1508) - Giorgioni (Givanni Bellini, 1478-1510), Titian (Tiziano Vecellio, 1488-1576)
9
Art & Physics 8: The Beginnings of the Modern Age II
Déjeuner sur l’herbe (Pablo Picasso, 1962)
10
Art & Physics 8: The Beginnings of the Modern Age II
Music in the Tuileries (Édouard Manet, 1862)
11
Art & Physics 8: The Beginnings of the Modern Age II In • • • •
Music in the Tuileries (1862) we note: a chaotic scene with no central character or focus no clear vanishing point no perpendicular lines (no horizon, no vertical lines) the tree trunks are all curved (though in reality they are not)
Manet’s intention seems to be to challenge (and perhaps change) the viewer’s notion of space.
12
Art & Physics 8: The Beginnings of the Modern Age II
horizontal horizon (curved)
13
Art & Physics 8: The Beginnings of the Modern Age II Manet was the first artist in the Western world of art to curve the horizon.
The Beach at Sainte-Adresse (Édouard Manet, 1867)
14
Art & Physics 8: The Beginnings of the Modern Age II
On the Beach (Édouard Manet, 1873)
15
Art & Physics 8: The Beginnings of the Modern Age II Eventually he removed the horizon and vanishing point completely from the picture.
Boating (Édouard Manet, 1874)
16
Art & Physics 8: The Beginnings of the Modern Age II
(Édouard Manet, 1862)
17
Art & Physics 8: The Beginnings of the Modern Age II While Édouard Manet was experimenting with the perception of space, Claude Monet began experimenting with the perception of time. 1840-1926 To show how an object changes with time, Monet began painting scenes viewed from the same position, but at different times of the day, even at different seasons. He called the style Instantaneity. Among the time series he produced are: Rouen cathedral (40 paintings at different times of the day) Haystacks in Giverny (20 paintings at different times of the year) Gare St.-Lazare
18
Art & Physics 8: The Beginnings of the Modern Age II
Rouen Cathedral in dull weather
1894
Rouen Cathedral in full sunlight
19
Art & Physics 8: The Beginnings of the Modern Age II
Gare Sainte-Lazare 1877
20
Art & Physics 8: The Beginnings of the Modern Age II 21 In Monet’s scheme of painting, an object must have duration as well as three extensions in space. Such ideas were also being discussed in literature: “Clearly, any real body must have extension in four directions: it must have length, breadth, thickness and duration…There are really four dimensions, three of which we call the three planes of space, and the fourth, time.” H.G. Wells (The Time Machine) A mathematical line cannot exist. A mathematical plane cannot exist. Can a cube with length, breadth and width exist? Only if it has duration as well. An instantaneous cube cannot exist.
Art & Physics 8: The Beginnings of the Modern Age II In 1881, Monet retreated to his house at Giverny, where he spent the rest of his life painting his garden - especially the water-lily pond. He became interested in what was in the water, on the water and reflected upon the water - the distinction being increasingly blurred with time until they became almost totally abstract.
22
Art & Physics 8: The Beginnings of the Modern Age II
23
Art & Physics 8: The Beginnings of the Modern Age II
24
Art & Physics 8: The Beginnings of the Modern Age II
Japanese Bridge at Giverny (1900)
25
Art & Physics 8: The Beginnings of the Modern Age II
26
Monet was not so much concerned with the geometry of shapes and forms as with the massing of colours to gain an “impression” of the scene.
Rather than trying to reproduce the nature of light within a studio, Monet captured the nature of light en plein air.
Monet Working in His Boat (Édouard Manet, 1874)
Art & Physics 8: The Beginnings of the Modern Age II
27
Paul Cézanne (1839-1906) took the opposite approach from Monet and abandoned the convention of linear light. Consequently, his paintings are timeless - you cannot tell at which time they were painted. The source and direction of light are not discernible. The light suffuses the painting rather than shines across it. • • • •
No gray days No foggy days No seasonal effects etc..
In Cézanne’s paintings, light is not an optical phenomenon to be investigated. Rather, it is a uniform and enduring light.
Mont Sainte Victoire Paul Cézanne (1902-4)
Art & Physics 8: The Beginnings of the Modern Age II
28
Instead of eliminating the single-point perspective, Cézanne introduced the revolutionary multi-point perspective. Objects were portrayed as if seen from different viewing positions.
His intention was to show how our visual perception of the world is composed of interlocking planes.
Art & Physics 8: The Beginnings of the Modern Age II Manet curved space; Cézanne fractured space.
29
Art & Physics 8: The Beginnings of the Modern Age II This idea destroyed the notion of a single privileged frame of reference (and thus visually pre-figured the basis of Einstein’s later theory of relativity which banned the concept of an absolute frame of reference).
Table, napkin and fruit (1895-1900)
30
Art & Physics 8: The Beginnings of the Modern Age II In science at that time space was considered as empty and had no effect on matter (or vice versa). In Cézanne’s paintings, matter (mass) and space fuse interactively together.
The Garden at Les Lauves, 1906
31
Art & Physics 8: The Beginnings of the Modern Age II
1885-95
1897-98
Mont Sainte-Victoire
32
1900
1902-04
Art & Physics 8: The Beginnings of the Modern Age II
1901
Mont Sainte-Victoire
1902
33
Art & Physics 8: The Beginnings of the Modern Age II
1885-7
1886
34
1897
Mont Sainte-Victoire
1904
Art & Physics 8: The Beginnings of the Modern Age II Cézanne’s paintings, with their attack on the conventions of perspective and the accepted views of space and time, showed that the Euclidean approach was not the only way to view the world. Once people began to see space in a nonEuclidean way, they could then begin to think about it in a new way too….. …which is what scientists began to do at the turn of the century.
Self portrait 1879-82
Self portrait 1894
35
Art & Physics 8: The Beginnings of the Modern Age II
Creation (Michelangelo Buonarroti, 1475 - 1564)
36
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