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Fourth dimension in art
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(File:Jouffret.gif|thumb|An illustration from Jouffret's Traité élémentaire de géométrie à quatre dimensions. The book, which influenced Picasso, was given to him by Princet.)New possibilities opened up by the concept of four-dimensional space (and difficulties involved in trying to visualize it) helped inspire many modern artists in the first half of the twentieth century. Early Cubists, Surrealists, Futurists, and abstract artists took ideas from higher-dimensional mathematics and used them to radically advance their work.WEB,weblink Overview of The Fourth Dimension And Non-Euclidean Geometry In Modern Art, Revised Edition, Linda Dalrymple, Henderson, MIT Press, 24 March 2013,

Early influence

{{further|Proto-Cubism|Mathematics and art}}File:Picasso Portrait of Daniel-Henry Kahnweiler 1910.jpg|thumb|Pablo Picasso, 1910 Portrait of Daniel-Henry Kahnweiler, Art Institute of ChicagoArt Institute of ChicagoFile:Jean Metzinger, 1910, Nu à la cheminée, published in Les Peintres Cubistes, 1913.jpg|thumb|Jean Metzinger, 1910, Nu à la cheminée (Nude). Exhibited at the 1910 Salon d'Automne. Black and white scan from Les Peintres Cubistes by Guillaume Apollinaire, 1913. Dimensions and whereabouts unknown.]]File:Albert Gleizes, 1913, Portrait de l’éditeur Eugène Figuière (The Publisher Eugene Figuiere), oil on canvas, 143.5 x 101.5 cm, Musée des Beaux-Arts de Lyon.jpg|thumb|Albert Gleizes, 1913, Portrait de l’éditeur Eugène Figuière (The Publisher Eugene Figuiere), Musée des Beaux-Arts de LyonMusée des Beaux-Arts de LyonFrench mathematician Maurice Princet was known as "le mathématicien du cubisme" ("the mathematician of cubism").BOOK, Décimo, Marc, Maurice Princet, Le Mathématicien du Cubisme, 2007, Éditions L'Echoppe, Paris, French, 2-84068-191-9, An associate of the School of Paris—a group of avant-gardists including Pablo Picasso, Guillaume Apollinaire, Max Jacob, Jean Metzinger, and Marcel Duchamp—Princet is credited with introducing the work of Henri Poincaré and the concept of the "fourth dimension" to the cubists at the Bateau-Lavoir during the first decade of the 20th century.BOOK, Miller, Arthur I., Einstein, Picasso: space, time, and beauty that causes havoc, New York, Basic Books, 2001, Print, 101, 0-465-01859-9, Princet introduced Picasso to Esprit Jouffret's Traité élémentaire de géométrie à quatre dimensions (Elementary Treatise on the Geometry of Four Dimensions, 1903),BOOK, Jouffret, Esprit, Traité élémentaire de géométrie à quatre dimensions et introduction à la géométrie à n dimensions,weblink 2008-02-06, 1903, Gauthier-Villars, Paris, French, 1445172, a popularization of Poincaré's Science and Hypothesis in which Jouffret described hypercubes and other complex polyhedra in four dimensions and projected them onto the two-dimensional page. Picasso's Portrait of Daniel-Henry Kahnweiler in 1910 was an important work for the artist, who spent many months shaping it.BOOK, Robbin, Tony, Shadows of Reality: The Fourth Dimension in Relativity, Cubism, and Modern Thought, 28, New Haven, Yale University Press, Print, 2006, 9780300110395, The portrait bears similarities to Jouffret's work and shows a distinct movement away from the Proto-Cubist fauvism displayed in Les Demoiselles d'Avignon, to a more considered analysis of space and form.BOOK, Robbin, Tony, Shadows of Reality: The Fourth Dimension in Relativity, Cubism, and Modern Thought, New Haven, Yale University Press, Print, 28–30, 2006, 9780300110395, Early cubist Max Weber wrote an article entitled "In The Fourth Dimension from a Plastic Point of View", for Alfred Stieglitz's July 1910 issue of Camera Work. In the piece, Weber states, "In plastic art, I believe, there is a fourth dimension which may be described as the consciousness of a great and overwhelming sense of space-magnitude in all directions at one time, and is brought into existence through the three known measurements."JOURNAL, Max, Weber, Max Weber, 1910, In The Fourth Dimension from a Plastic Point of View, Camera Work, 31, July 1910, Another influence on the School of Paris was that of Jean Metzinger and Albert Gleizes, both painters and theoreticians. The first major treatise written on the subject of Cubism was their 1912 collaboration Du "Cubisme", which says that: "If we wished to relate the space of the [Cubist] painters to geometry, we should have to refer it to the non-Euclidian mathematicians; we should have to study, at some length, certain of Riemann's theorems."BOOK, Du "Cubisme" (Edition Figuière), Albert, Jean, Gleizes, Metzinger, Albert Gleizes, Jean Metzinger, Paris, 1912, The American modernist painter and photographer Morton Livingston Schamberg wrote in 1910 two letters to Walter Pach,Letter from Schamberg in Philadelphia to Walter Pach in Paris, 29 December 1910, Pach Papers, Reel: 4216, fr. 856Letter from Schamberg in Philadelphia to Pach in Paris, 29December 1910, fr. 857 parts of which were published in a review of the 1913 Armory Show for The Philadelphia Inquirer,Morton Livingston Schamberg, "Post-Impression Exhibit Awaited", The Philadelphia Inquirer, 19 January 1913, col. 2, p. 3 about the influence of the fourth dimension on avant-garde painting; describing how the artists' employed "harmonic use of forms" distinguishing between the "representation or rendering of space and the designing in space":BOOK, Oja, Carol J., Making Music Modern: New York in the 1920s, 84, 2000, February 2003, Oxford University Press, USA, {{ISBN|9780195162578}}If we still further add to design in the third dimension, a consideration of weight, pressure, resistance, movement, as distinguished from motion, we arrive at what may legitimately be called design in the fourth dimension, or the harmonic use of what may arbitrarily be called volume. It is only at this point that we can appreciate the masterly productions of such a man as Cézanne.Jill Anderson Kyle, Cézanne and American Painting 1900 to 1920, The University of Texas at Austin, 1995Cézanne's explorations of geometric simplification and optical phenomena inspired the Cubists to experiment with simultaneity, complex multiple views of the same subject, as observed from differing viewpoints at the same time.Christopher Green, Cubism, Meanings and interpretations, MoMA, Grove Art Online, Oxford University Press, 2009

Dimensionist manifesto

In 1936 in Paris, Charles Tamkó Sirató published his Manifeste Dimensioniste,WEB,weblink Dimensionist Manifesto, Charles Tamkó, Sirató, Paris, 1936, PDF, 24 March 2013, which described how the Dimensionist tendency has led to:
  1. Literature leaving the line and entering the plane.
  2. Painting leaving the plane and entering space.
  3. Sculpture stepping out of closed, immobile forms.
  4. The artistic conquest of four-dimensional space, which to date has been completely art-free.
The manifesto was signed by many prominent modern artists worldwide. Hans Arp, Francis Picabia, Kandinsky, Robert Delaunay and Marcel Duchamp amongst others added their names in Paris, then a short while later it was endorsed by artists abroad including László Moholy-Nagy, Joan Miró, David Kakabadze, Alexander Calder, and Ben Nicholson.

Crucifixion (Corpus Hypercubus)

File:Dali Crucifixion hypercube.jpg|150px|thumb|Dalí's 1954 painting Crucifixion (Corpus Hypercubus)Crucifixion (Corpus Hypercubus)In 1953, the surrealist Salvador Dalí proclaimed his intention to paint "an explosive, nuclear and hypercubic" crucifixion scene.BOOK, Dalí, Salvador, Salvador Dalí, Gómez de la Serna, Ramón, Dali, Secaucus, NJ, Wellfleet Press, 1988, 2001, 41, 1555213421, WEB,weblink Salvador Dalí (1904–1989), SpanishArts, 2013, 24 March 2013, He said that, "This picture will be the great metaphysical work of my summer".WEB,weblink Crucifixion ('Corpus Hypercubus'), 1954, Dalí gallery website, 25 March 2013, Completed the next year, Crucifixion (Corpus Hypercubus) depicts Jesus Christ upon the net of a hypercube, also known as a tesseract. The unfolding of a tesseract into eight cubes is analogous to unfolding the sides of a cube into six squares. The Metropolitan Museum of Art describes the painting as a "new interpretation of an oft-depicted subject. ..[showing] Christ's spiritual triumph over corporeal harm."WEB,weblink Crucifixion (Corpus Hypercubus), The Metropolitan Museum of Art, 24 March 2013,

Abstract art

Some of Piet Mondrian's abstractions and his practice of Neoplasticism are said to be rooted in his view of a utopian universe, with perpendiculars visually extending into another dimension.JOURNAL, Runette, Kruger, Art in the Fourth Dimension: Giving Form to Form – The Abstract Paintings of Piet Mondrian, Spaces of Utopia: An Electronic Journal, 5, Summer 2007, 23–35,weblink PDF, 1646-4729,

Other forms of art

The fourth dimension has been the subject of numerous fictional stories.WEB,weblink Spirits, Art, and the Fourth Dimension, Bryan, Clair, 16 September 2002, Strange Horizons, 25 March 2012, yes,weblink 1 April 2012,

See also

References

{{reflist|28em}}

Sources

  • WEB,weblink Spirits, Art, and the Fourth Dimension, Bryan, Clair, 16 September 2002, Strange Horizons, 25 March 2012, yes,weblink 1 April 2012,
  • BOOK, Dalí, Salvador, Salvador Dalí, Gómez de la Serna, Ramón, Dali, Secaucus, NJ, Wellfleet Press, 1988, 2001, Print, 1555213421,
  • BOOK, Décimo, Marc, Maurice Princet, Le Mathématicien du Cubisme, 2007, Éditions L'Echoppe, Paris, French, 2-84068-191-9,
  • BOOK, Du "Cubisme" (Edition Figuière), Albert, Jean, Gleizes, Metzinger, Albert Gleizes, Jean Metzinger, Paris, 1912,
  • WEB,weblink Overview of The Fourth Dimension And Non-Euclidean Geometry In Modern Art, Revised Edition, Linda Dalrymple, Henderson, MIT Press, 24 March 2013,
  • BOOK, Jouffret, Esprit, Traité élémentaire de géométrie à quatre dimensions et introduction à la géométrie à n dimensions,weblink 2008-02-06, 1903, Gauthier-Villars, Paris, French, 1445172,
  • JOURNAL, Runette, Kruger, Art in the Fourth Dimension: Giving Form to Form – The Abstract Paintings of Piet Mondrian, Spaces of Utopia: An Electronic Journal, 5, Summer 2007, 23–35,weblink PDF, 1646-4729, 25 March 2012,
  • BOOK, Miller, Arthur I., Einstein, Picasso: space, time, and beauty that causes havoc, New York, Basic Books, 2001, Print, 0-465-01859-9,
  • BOOK, Oja, Carol J., Making Music Modern: New York in the 1920s, 84, 2000, February 2003, Oxford University Press, USA, {{ISBN|9780195162578}}
  • BOOK, Robbin, Tony, Shadows of Reality: The Fourth Dimension in Relativity, Cubism, and Modern Thought, New Haven, Yale University Press, Print, 28–30, 2006, 9780300110395,
  • WEB,weblink Dimensionist Manifesto, Charles Tamkó, Sirató, Paris, 1936, PDF, 24 March 2013,
  • JOURNAL, Max, Weber, Max Weber (artist), 1910, In The Fourth Dimension from a Plastic Point of View, Camera Work, 31, July 1910,

Further reading

  • BOOK, The Fourth Dimension And Non-Euclidean Geometry In Modern Art, Revised, Linda Dalrymple, Henderson, 2013, Cambridge, Massachusetts, The MIT Press, 0262582449,
  • BOOK, Duchamp in Context: Science and Technology in the Large Glass and Related Works, Linda Dalrymple, Henderson, Princeton, N.J, Princeton University Press, 1998, 9780691123868,
  • Volkert K. (2018) Wanderings of Knowledge - the fourth dimension in art, literature and philosophy. In: In higher rooms. Mathematics in context. Springer Spectrum, Berlin, Heidelberg, {{ISBN|978-3-662-54794-6}}
  • Hinton, Charles H., What Is the Fourth Dimension?, 1884. From Scientific Romances, Vol. 1 (1884), pp. 1-22, Speculations on the Fourth Dimension, Selected Writings of Charles H. Hinton, Copyright 1980 by Dover Publications, Inc., {{ISBN|0-486-23916-0}}, LC 79-54399
  • Hinton, Charles H., The fourth dimension, London, S. Sonnenschein & Co., 1906, archive.org

External links

{{Mathematical art}}{{Modernism}}{{Cubism}}

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