[EN] ABSTRACT The development of this thesis supposes an opportunity of learning and a tool in the area of Industrial Design teaching. The experience of having been teaching for fourteen years in the Escuela Técnica Superior de Ingeniería del Diseño of the Universitat Politècnica de Valencia and particularly in the subject of Artistic Expression, belonging to the first course of the degree in Product Design, inspired me to investigate areas which may be able to promote creativity and foster the perception as a resource when designing. We value as the two main bases in the vocational development of the student of Design, the perception and the creativity, observing in the novice students a lack of these skills, which makes difficult an organised improvement in their formation and their acquisition of abilities. Therefore we consider imperative the education in both of these areas. We are giving value to Jules Goncourt's thought: "The longest apprenticeship of all the arts is learning how to see". We reckon the important role that perception plays: "Things are not seen as they are; they are seen as we are" (H. Ascasubi). We analyse the perception among the students of the first course of ETSID. Given that we know the society is overloaded with visual stimuli, we consider the Op Art and its current reference in Felice Varini and Georges Rousse's work, a proper mean to connect with the students, so that it can work as a resource to reflect and discover the perception, the shape, the space and the creativity; elements which are all interrelated in a very interesting way in the work of the artists object of study. We intend to deeply analyse the perception (sense and knowledge) and the perspective as its representation, appreciating the technique of the anamorphosis as a creative and intriguing rupture, which may provoke a new way of looking on the students of Design, providing them with new resources, different points of view, new interpretations of the object, needs. In this thesis, more than arguing the pedagogical component of art for the students of Design, singled out in the Op Art, we intend to show the positive link that exists between art, and product design, from basic aspects; the creativity, the formal and graphic resources, the subject-object connection relating to perception and in the formal aspect, the link between two and three dimensions. / [ES] RESUMEN La realización de esta tesis se presenta como una oportunidad de aprendizaje y herramienta en el ámbito de la enseñanza del diseño industrial, la experiencia docente de catorce años en la Escuela Técnica Superior de Ingeniería de Diseño de la Universidad Politécnica de Valencia y en especial en la asignatura Expresión Artística de primer curso del Grado en Diseño de Producto, me ha impulsado a investigar áreas que puedan motivar la creatividad y potenciar la percepción como recurso de diseño. Hemos valorado como dos pilares fundamentales en el desarrollo vocacional del estudiante de diseño la percepción y la creatividad, observando en los alumnos nóveles carencias en estas áreas que dificultan un ordenado crecimiento en la formación y adquisición de capacidades, por lo que vemos prioritario educar en estas dos áreas. Poniendo en valor el pensamiento de Jules Gouncourt: "El más largo aprendizaje de todas las artes es aprender a ver." Nos planteamos la influencia de la percepción; "Las cosas no se ven como son, las vemos como somos" (H. Ascasubi). Analizamos la percepción del alumnado de primer curso de ETSID. Conociendo que la sociedad está sobrecargada de estímulos visuales nos parece el Op Art y su referente actual en la obra de Felice Varini y Georges Rousse un medio para conectar con el alumnado de manera que sea un recurso para la reflexión y el descubrimiento de la percepción, la forma, el espacio y la creatividad, elementos que se interrelacionan de muy interesante manera en la obra de los artistas objeto de estudio. Buscamos analizar en profundidad la percepción (sentido y conocimiento) y la perspectiva como su representación, valorando la técnica de la anamorfosis como ruptura creativa y sugerente, que puede provocar una nueva mirada en el alumno de diseño capacitándolo con nuevos recursos, distintos puntos de vista, nuevas lecturas del objeto, necesidades. En esta tesis más allá de argumentar el componente pedagógico del arte para el estudiante de diseño, singularizado en el Op Art, buscamos demostrar la positiva vinculación del arte con el diseño de producto desde aspectos básicos; la creatividad, los recursos formal y gráfico, la relación perceptual sujeto-objeto y en el aspecto formal la relación entre dos y tres dimensiones. / [CAT] RESUM La realització d'aquesta tesi es presenta com a una oportunitat d'aprenentatge i com a eina a l'àmbit de l'ensenyament del disseny industrial. L'experiència docent de catorze anys a l'Escola Tècnica Superior d'Enginyeria de Disseny de la Universitat Politècnica de València i, en especial, en l'assignatura d'Expressió Artística de primer curs del Grau en Disseny de Producte, m'ha impulsat a investigar àrees que poden motivar la creativitat i potenciar la percepció com a recurs per al disseny. Hem valorat dos fites fonamentals en el desenvolupament vocacional de l'estudiant de disseny: la percepció i la creativitat. Tanmateix, observem en els alumnes novells carències en aquestes àrees que dificulten un ordenat creixement en la formació i adquisició de capacitats. Veiem, doncs, prioritari educar en aquestes dos àrees, posant en valor el pensament de Jules Gouncourt: "El més llarg aprenentatge de totes les arts és aprendre a veure." Ens plantegem la influència de la percepció: "Les coses no es veuen com són, les veiem com som" (H. Ascasubi) i analitzem la percepció de l'alumnat de primer curs d'ETSID. Assumint que la societat està saturada d'estímuls visuals, ens sembla l'Op Art i el seu referent actual en l'obra de Felice Varini i Georges Rousse un mitjà per a connectar amb l'alumnat de manera que siga un recurs per a la reflexió i el descobriment de la percepció, la forma, l'espai i la creativitat, elements que s'interrelacionen de manera molt interessant en l'obra dels artistes que són objecte d'estudi. Cerquem analitzar en profunditat la percepció (sentit i coneixement) i la perspectiva com a la seua representació, valorant la tècnica de l'anamorfosi com a ruptura creativa i suggeridora, que pot provocar una nova mirada en l'alumne de disseny. D'aquesta manera el capacita amb nous recursos, distints punts de vista, noves lectures de l'objecte, necessitats. En aquesta tesi, més enllà d'argumentar el component pedagògic de l'art per a l'estudiant de disseny, singularitzat en l'Op Art, busquem demostrar la positiva vinculació de l'art amb el disseny de producte des d'aspectes bàsics: la creativitat, els recursos formal i gràfic, la relació perceptual subjecte-objecte i en l'aspecte formal, la relació entre dos i tres dimensions. / Alaman Garcera, J. (2016). Intervenciones artísticas-gráficas sobre objeto de diseño y espacio. Op Art; la obra de Felice Varini y Georges Rousse y su posible aplicación al diseño de producto [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/61303 / TESIS

This thesis focuses on the late work of painter František Hudeček and on development of variety relationships of his work with past and current period demands. It focuses especially on the situation of sixties as well and characterises the position of author on the period art scene and his participation in art groups.

Adulé ou détesté, l’op art a marqué les esprits par son incroyable réception populaire. Damiers à renflements, moirage, jeux de trompe-l’œil, clignotements épileptiques… Avec son insatiable appétit scopique, cette avant-garde a fait l’objet de nombreux réemplois dans la publicité, le design, la mode, à la télévision, et plus que jamais au cinéma. Art de l’œil et du mouvement, sa géométrie illusionniste avait matière à s’y épanouir – la moindre caméra décuple ses vertus de métamorphose. A l’inverse, ses gadgets sophistiqués ont sublimé à moindre coût les décors de science-fiction, son économie pulsatile a piloté des mises en scène d’horreur et de suspense, et le cinéma réaliste en a fait un puissant miroir de la société. Pourtant, l’histoire de l’art a longtemps ignoré voir blâmé ces reprises. Comme à l’époque, on les ravalait au rang de la récupération. C’étaient sinon le symptôme d’un art décérébré, décadent, vulgairement rétinien. Il importe aujourd’hui de les reconsidérer. Comment ces « œuvres de prolongement » travaillent les imaginaires de l’op art ? Au cours de ses réemplois, que perd et gagne une œuvre d’art ? A travers trois capitales, Paris, Londres et Rome, cet essai décrypte les enjeux d’une fascination visuelle dans un après-guerre hanté, bouleversé par l’imagerie médiatique (guerre froide, fabrication du consentement) et les technologies engageant l’œil et le cerveau (contre-espionnage, cryptanalyse). Cette thèse se réclame des « factual studies », une approche nouvelle, non moins iconographique que les visual studies, mais davantage sensible à une pensée de l’événement. Soit la rencontre des faits historiques avec les refoulés de l’histoire. / Worshiped or hated, op art is famous for its amazing popularity. Raised checkboards, moiré patterns, trompe l’oeil games, epileptic flashes… Because of its insatiable scopic appetite, this artistic movement was abundantly used in advertising, fashion, television and, above all, in movies. Art of the eye and the motion, its illusionist geometry could find a large expression in cinema – a shaking camera could increase its metamorphic power. Its sophisticated gadgets magnified science-fiction sets at minimal cost, its stroboscopic aesthetic fuelled the staging of horror films and thrillers, and realistic cinema has used it as a faithful mirror of society. However, history of art has always condemned this kind of reuse and was reluctant to study it. As in the sixties, one considered it as an enterprise of looting, or even as the sign of a decadent, enervated and strictly retinal art. Visiting three capitals, Paris, London and Rome, this thesis aims at decrypting issues related to visual fascination in a post-war time challenged by the media imagery (Cold War, manufacturing consent) and the new technologies such as counter-espionage and cryptanalysis. What does an artwork win or lose through its transformations? To what extent do these “objects of extension” reflect the fantasy of op art and even of society? While taking into account the historical dimension, this study experiments a new research method : the “factual studies” – that is however equally iconographic as the “visual studies”. In other words, the encounter of historical events and repulsed history.

No description available.

La notion d’« abstraction perceptuelle (perceptual abstraction) » apparaît dans le domaine de la psychologie cognitive avant d’être associée à l’art optique et cinétique dans les pages du catalogue de l’exposition « The Responsive Eye » au Museum of Modern Art en 1965. Ce lien tissé entre abstraction et phénoménologie de la perception, bien qu’il ait connu une résonance historiographique modeste, traduit avec justesse certains enjeux et complète les catégories du mouvement et de l’effet, sur lesquelles le débat et la réflexion se sont le plus souvent orientés. À partir de ce cadre initial des années 1950 et 1960 est établi un second cadre, plus vaste, allant des avant-gardes historiques à nos jours, d’un « art perceptuel ». Au sein de ce corpus transhistorique sont rassemblées des oeuvres caractérisées par leur oscillation constante entre surface et volume, fait et effet, matière et vibration. Le phénomène de palpitation et de dissolution, qui se substitue à la composition et à la polychromie, rend impossible la saisie d’oeuvres tantôt incandescentes, tantôt évanescentes. Dans cette exploration constante des seuils du visible, la perception est traitée comme un médium à part entière. À travers oeuvres et textes, cette étude entend mettre en avant les résonances thématiques entre les époques et les courants afin, précisément, d’établir un panorama, le plus large possible, des pratiques relevant de ce que Jean Clay présenta comme « une prise de conscience de l’instabilité du réel ». / The term “perceptual abstraction” appears within the field of cognitive psychology before being associated, in the catalogue of the exhibition "The Responsive Eye" at the MoMA in New York in 1965, with Optical Art and Kinetic Art, two parallel trends around which debate and reception were focused for about a decade. At the same time, this link between abstraction et perception, despite the modest resonance of its term, is relevant for understanding these kinds of artistic practices with the potential of covering a wider historical and aesthetic field. Beyond this narrow chronological frame of the 1950s and 1960s, this concept describes a type of Perceptual Art that is based on an oscillation between fact and effect, matter and flux, surface and volume—an art in which composition and polychromy give way to vibration and dissolution, from the historical avant-gardes until today. Through an analysis of diverse artworks and texts, this study approaches perception beyond the commonly used categories of mechanical movement and optical effect. Considered as a medium in itself by some artists, perception is driven to its limits and the spectator’s capacity to grasp form and space is questioned. Thematic echoes between periods and trends are highlighted, precisely in order to define the field as broadly as possible—to reflect on what Jean Clay aptly described as “an awareness of the instability of the real.”

Hannes Beckmann (1909-1977). Dessau - Prague - New York This PhD thesis is dedicated to an exceptional, though still forgotten personality, an artist of German descent, Hannes Beckmann |1909-1977|. A graduate of Germany's Bauhaus, he was one of the refugees fleeing Nazism to Czechoslovakia, and among many other achievements, he later became the director of the photography department of the Guggenheim Museum in New York. Through his work, he fulfilled avant-garde ideas on the synthesis of artistic fields: he was a painter, stage designer, art theorist and pedagogue, but also a creator of abstract objects moving along the boundaries of minimalistic and kinetic constructions. His fate in life and created body of work began gaining a clearer form in the framework of research on visual artists, who found sanctuary in interwar Czechoslovakia from demagogic political systems. Until that time, Hannes Beckmann had been utterly unknown to Czech art history and elsewhere. This is seen in the absence of his name in Czech technical literature, but also because he was never mentioned even in publications published by the Bauhaus with which he had been involved for some time. There was only sketchy information on his pedagogical and artistic work in the area of Op-Art (optical art) from the 1960s to 1970s in the United...

This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.