Op art

N

Op art

Op Art 
Op art, also known as optical art, is a style of visual art that 
makes use of optical illusions. 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 created in two primary ways. The first, and 
best known method, is the creation of effects through 
the use of pattern and line. Often these paintings are 
black-and-white, or otherwise grisaille, as in Bridget 
Riley's famous painting, Current (1964), on the cover of 
The Responsive Eye catalogue; here, black and white 
wavy lines are placed close to one another on the 
canvas surface, creating such a volatile figure-ground 
relationship that one's eyes begin to hurt. 
Beginning in 1965 Bridget Riley began to produce 
colour-based op art, however, Julian Stanczak and 
Richard Anuszkiewicz, were always interested in 
making colour the primary focus of their work. Often, 
colourist work is dominated by the same concerns of 
figure-ground movement, but they have the added 
element of contrasting colours which have different 
effects on the eye.

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Op art

  • 1. Op Art Op art, also known as optical art, is a style of visual art that makes use of optical illusions. 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 created in two primary ways. The first, and best known method, is the creation of effects through the use of pattern and line. Often these paintings are black-and-white, or otherwise grisaille, as in Bridget Riley's famous painting, Current (1964), on the cover of The Responsive Eye catalogue; here, black and white wavy lines are placed close to one another on the canvas surface, creating such a volatile figure-ground relationship that one's eyes begin to hurt. Beginning in 1965 Bridget Riley began to produce colour-based op art, however, Julian Stanczak and Richard Anuszkiewicz, were always interested in making colour the primary focus of their work. Often, colourist work is dominated by the same concerns of figure-ground movement, but they have the added element of contrasting colours which have different effects on the eye.