The notion of mathematics and geometry being somehow inextricably interconnected with the world of arts was always clear to me. What I was omitting was the magnitude of the contribution of the latter.
This week’s lectures guided me through the myriad of applications of math to the artistic domain. Perspective, Golden Ratio, Euclidean and non-Euclidean geometry are only some of the elements that have been key to the artistic production throughout history.
Specifically the Golden Ratio represents the peak of the relationship between mathematics and arts. This approximate proportion of 1 : 1.618, is widespread in nature in an aesthetic appealing way that has induced artists and architects to take it into account in their creations.
Specifically the Golden Ratio represents the peak of the relationship between mathematics and arts. This approximate proportion of 1 : 1.618, is widespread in nature in an aesthetic appealing way that has induced artists and architects to take it into account in their creations.
Piero della Francesca implemented the Golden Ratio in his masterpiece "Pala di Brera (Brera Madonna)"
Although the mathematical approach to art is indeed relevant, it’s not the only route of the craft. Creativity persists as the original value within which artistic discourse is being carried out. While mathematics and geometry per se do not leave much room for creativity, the application of them, which varies in complexity and size, needs creativity at its finest.
Linda Henderson’s article not only shone light on the increasingly close juxtaposition between math and arts, but it also helped me tracing the origin of my thesis back to my own personal experience. Having been lucky enough to grow up in an artistic-prone environment, with my grandfather being an art critic, I have always been able to have a closer look to the artistic process behind many artists’ crafts, Valentino Vago being one of them. I was reminded of his works by this week's topic.
Valentino Vago's "A Roberto" and "Senza Titolo"
Through the study of light and geometrical shapes he always sought to “challenge long-standing ‘truths’ about art" (Henderson 205). Although Vago didn’t even get close to the study of the Fourth Dimension mentioned in Henderson’s article, he still embodies the archetype of the fusion of mathematics and geometry and arts. Embracing the idea that a new understanding of geometry and mathematics led to the birth of abstract art, Vago started successfully implementing calculations and studies of perspective in his own works.
Lastly, nothing encapsulates this week’s topic better than Linda Henderson’s quote that “mathematics and geometries must be regarded as something deliciously subversive in the arts”, and therefore necessary (205).
Pietro Grassi.
Citations:
Vesna, Victoria. Lecture Video. Canvas, 2022.
Henderson, Linda Dalrymple. "The Fourth Dimension and Non-Euclidean Geometry in Modern Art: Conclusion." The MIT Press, Leonardo: Vol. 17, No.3. (1984): 205-210.
Golden Ratio: https://www.theguardian.com/artanddesign/2009/dec/28/golden-ratio-leonardo-da-vinci
Piero della Francesca's Pala di Brera: https://arsartisticadventureofmankind.wordpress.com/tag/piero-della-francescas-pala-brera/
Archivio Valentino Vago, https://www.archiviovalentinovago.it/it/
I thought your post was very interesting. I agree that art and math have always been related for me as well, but this weeks lectures brought them together further. I really enjoyed your example of the Pierro della Francesca painting, and of Valentino Vago's works as I had not heard of the latter before. I also definitely agree that while mathematics is important in art and there is definitely creativity found in this fusion, we should not discount other artistic formats.
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