Using an artist of various optical illusions

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Сообщение от sergejnowo

His interest in still-life by leading European artists ages 17-18, to the question "why looks Îáüåìíûå?" approached from a practical point of view. Ie I was not interested in the scientific explanation of the illusion Îáüåìíûå through applied sciences - physics or chemistry. The interest lay in the desire to understand what there is "smeared" the artist, in order to look Îáüåìíûå.

Dear sergejnowo! You slightly contradicted themselves. Can not understand "what did someone" to make it "look a certain way, not answering the question" why, he did just that, and not something else? " But the answers to the question "why" - and there is a problem for science, without some knowledge going. In this case, the benefits of science is that it tells others what they should do to create a similar effect. But you are right that the chemistry is not to blame.

This - all well-known axiom that people do not see the eyes and brain. The most compelling example - of a dream. I will not consider the illusion of volume - due to the complexity and incomplete theme is elaborated. Dwell long on the illusion of motion, which is based on the ability of the human brain: correct minor irregularities (in our experience and present) in the visible image. If, for example, an object that should be strictly vertical, and as such we have not seen, the brain begins unconsciously "dovorachivat" seared in him the image in the "correct" side. Studies have shown that this process is not instantaneous, and inertia: it runs at a speed of about 15 degrees per second. The reverse process takes faster, but also not instantaneous. It is necessary to bear in mind that by looking at the pictures we have at any one time can clearly see only a fraction of its area. If the viewer look at a certain speed slides across the image, then when hit with a distorted view of the normal image of the object, they are the first time "deployed" out of inertia in the opposite direction, creating the effect of motion. The direction of the gaze, as well as its speed (physiologically very large) must be driven by the will of the artist, depicting the "road" the various parts, engaging and delaying glance the viewer. Naturally, the source of distortion should not be large, ie they should not cause the effect of discomfort perception unprepared audience. Toulouse-Lautrec was a master of such illusions, but often still crossed that line discomfort, which, however, to a trained eye does not create big problems.

Here's an early picture of the Finnish artist Eino Ruutsalo (Eino Ruutsalo, 1921-2001) from 1946 (see ill. 1) when he, ex-fighter pilot, in search of work had gone to Sweden and working in an advertising agency, in addition moonlighting painting. Painting style typical of the later Ruutsalo, but in 1946, before the establishment of "kinetic art" was still very far away. But apparently, even then the idea of using optical illusions, which is fully manifested in ten years (see ill. 2), they possessed. The painting depicts a view of the cathedral in Uppsala with the "Iron Bridge". Striking unnatural inclination of the towers to the right. Yes, there's little artist "moved" with the slope, but if you look at the picture on the right at an angle of 40 - 50 deg. and the bottom at an angle of 10 - 20 deg. (counting from the normal), then this slope is corrected, but it begins to seem that the clouds are moving from left to right. (Actually many of the paintings produced a much better impression if you look at them is not strictly "full face", but at a certain angle, it seems to me that this fact requires serious analysis from the perspective of the issues raised in the discussion topic.) Such an effect of cloud motion there is a Titian, but, alas, can not now recall what specific pattern.