Week 2: Math + Art

    

 I loved to draw for fun all the time as a kid, but the only time my art would come out looking remotely nice or realistic was when I’d try to copy another artist or piece of work. I now realize that this was because I had no knowledge of how to apply mathematical concepts such as perspective and shading to my art, giving it a flat, unrealistic feeling.

     This idea is seen in Flatland by Edwin A. Abbot, which is set in a 2D world inhabited by geometric shapes such as squares and triangles. A square is visited by a 3D sphere, who introduces him to the concept of the third dimension and the possibilities to be explored (Abbot). Flatland explains how the introduction of mathematical concepts such as dimension and perspective enhance art and make it a more realistic, encompassing experience for the viewer.

    In particular, the introduction of mathematical elements such as the Golden Ratio and Fibonacci Sequence to art helped artists make their works more balanced, realistic, and pleasing to the eye. The Mona Lisa, arguably one of the most famous works of art ever, was created using the Golden Ratio to balance the proportions of her face and body (“The Mathematics in Art”).

    However, artists such as Piet Mondrian aimed for a more abstract style of work using horizontal lines and basic geometric shapes, particularly rectangles, to express reality, nature, and logic (Vesna). The idea that any particular concept or even emotion can be expressed using a combination of basic mathematical shapes and elements is revolutionary to me – especially when I look at Mondrian’s art, because it seems so simple yet has a lot to convey. Mondrian’s thought process was intriguing because it came from a place of both creativity and hard mathematical logic; he said, “I concluded that the right angle is the only constant relation and that through the proportions of the dimension one could give movement to its constant expression … I excluded... from my paintings the curved lines, until finally my compositions consisted only of horizontal and vertical lines that formed crosses,” (Ferreria).

    In her article "The Fourth Dimension and Non-Euclidean Geometry in Modern Art: Conclusion", Linda Henderson argues that the incorporation of mathematical concepts in art was an extremely significant development in art history, helping artists represent the world in a more accurate and dynamic manner. We can definitely see this by observing works that use mathematical concepts such the Golden Ratio and vanishing point to scale and balance their depictions. However, Henderson also argues that diminishing boundaries between math and art leads to acceptance of more non-representational or abstract art – such as that of Mondrian’s, which can be seen both as an art piece and a combination of geometric elements.

Works Cited

    [Abbott Edwin] Flatland a Romance of Many Dimensions, https://catalogue.swanngalleries.com/Lots/auction-lot/[ABBOTT-EDWIN]-Flatland-A-Romance-of-Many-Dimensions?saleno=2609&lotNo=279&refNo=792394. 

Abbot, Edwin A. Flatland: A Romance of Many Dimensions. 1884.

“The Mathematics in Art.” The Art Of Maths, https://artofmaths.eu/the-mathematics-in-art/. (image & source)

Vesna, Victoria. "Mathematics-pt1-ZeroPerspectiveGoldenMean." DESMA 9, 14 April 2023, University of California, Los Angeles. Lecture.

Ferreira, Rute. “Art and Math: Aesthetics of Calculations.” DailyArt Magazine, 19 Oct. 2021, https://www.dailyartmagazine.com/art-and-math/. 

“Piet Mondrian: Composition with Large Red Plane, Yellow, Black, Grey and Blue (1921).” Artsy, https://www.artsy.net/artwork/piet-mondrian-composition-with-large-red-plane-yellow-black-grey-and-blue. 

Henderson, Linda Dalrymple. “The Fourth Dimension and Non-Euclidean Geometry in Modern Art: Conclusion.” MIT Press, 20 Oct. 2022, https://mitpress.mit.edu/9780262536554/the-fourth-dimension-and-non-euclidean-geometry-in-modern-art/.