Thursday 23 October 2014

Fourth dimension in art

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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.[1]


Early influence[edit]



Picasso's Portrait of Daniel-Henry Kahnweiler, 1910, The Art Institute of Chicago.


Dalí's 1954 painting Crucifixion (Corpus Hypercubus)
French mathematician Maurice Princet was known as "le mathématicien du cubisme" ("the mathematician of cubism").[2] 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 in the late 1900s.[3]
Princet introduced Picasso to Esprit Jouffret's Traité élémentaire de géométrie à quatre dimensions (Elementary Treatise on the Geometry of Four Dimensions, 1903),[4] 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.[5] 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.[6]
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."[7]
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."[8]
In a review of the 1913 Armory Show for the Philadelphia Enquirer, the influence of the fourth dimension on avante-garde painting was discussed; the paper's art-critic describing how the artists' employed "..harmonic use of what may arbitrarily be called volume".[9]

Dimensionist Manifesto[edit]

In 1936 in Paris, Charles Tamkó Sirató published his Manifeste Dimensioniste, which described how "the Dimensionist tendency has led to:[10]
  • 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.[10]

Crucifixion (Corpus Hypercubus)[edit]

In 1953, surrealist Salvador Dalí proclaimed his intention to paint "an explosive, nuclear and hypercubic" crucifixion scene.[11][12] He said that, "This picture will be the great metaphysical work of my summer".[13] 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."[14]

Abstract art[edit]

Some of Piet Mondrian's (1872–1944) 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.[15]

Other forms of art[edit]

Main article: Fourth dimension in literature
The Fourth dimension has been the subject of numerous fictional stories.[16]

See also[edit]

References[edit]

  1. Jump up ^ Henderson, Linda Dalrymple. "Overview of The Fourth Dimension And Non-Euclidean Geometry In Modern Art, Revised Edition". MIT Press. Retrieved 24 March 2013. 
  2. Jump up ^ Décimo, Marc (2007). Maurice Princet, Le Mathématicien du Cubisme (in French). Paris: Éditions L'Echoppe. ISBN 2-84068-191-9. 
  3. Jump up ^ Miller, Arthur I. (2001). Einstein, Picasso: space, time, and beauty that causes havoc (Print). New York: Basic Books. p. 101. ISBN 0-465-01859-9. 
  4. Jump up ^ Jouffret, Esprit (1903). Traité élémentaire de géométrie à quatre dimensions et introduction à la géométrie à n dimensions (in French). Paris: Gauthier-Villars. OCLC 1445172. Retrieved 2008-02-06. 
  5. Jump up ^ Robbin, Tony (2006). Shadows of Reality: The Fourth Dimension in Relativity, Cubism, and Modern Thought (Print). New Haven: Yale University Press. p. 28. ISBN 9780300110395. 
  6. Jump up ^ Robbin, Tony (2006). Shadows of Reality: The Fourth Dimension in Relativity, Cubism, and Modern Thought (Print). New Haven: Yale University Press. pp. 28–30. ISBN 9780300110395. 
  7. Jump up ^ Weber, Max (1910). "In The Fourth Dimension from a Plastic Point of View". Camera Work 31 (July 1910). 
  8. Jump up ^ Gleizes, Albert; Metzinger, Jean (1912). Du "Cubisme" (Edition Figuière). Paris. 
  9. Jump up ^ Oja, Carol J. (2000, February 2003). Making Music Modern: New York in the 1920s. Oxford University Press, USA. p. 84.  Check date values in: |date= (help)ISBN 9780195162578
  10. ^ Jump up to: a b Sirató, Charles Tamkó (1936). "Dimensionist Manifesto" (PDF). Paris. Retrieved 24 March 2013. 
  11. Jump up ^ Dalí, Salvador; Gómez de la Serna, Ramón (1988, 2001). Dali (Print). Secaucus, NJ: Wellfleet Press. p. 41. ISBN 1555213421.  Check date values in: |date= (help)
  12. Jump up ^ "SALVADOR DALÍ (1904–1989)". SpanishArts. 2013. Retrieved 24 March 2013. 
  13. Jump up ^ "Crucifixion ('Corpus Hypercubus'), 1954". Dalí gallery website. Retrieved 25 March 2013. 
  14. Jump up ^ "Crucifixion (Corpus Hypercubus)". The Metropolitan Museum of Art. Retrieved 24 March 2013. 
  15. Jump up ^ Kruger, Runette (Summer 2007). "Art in the Fourth Dimension: Giving Form to Form – The Abstract Paintings of Piet Mondrian" (PDF) (5). Spaces of Utopia: An Electronic Journal. pp. 23–35. ISSN 1646-4729. Retrieved 25 March 2012. 
  16. Jump up ^ Clair, Bryan (16 September 2002). "Spirits, Art, and the Fourth Dimension". Strange Horizons. Retrieved 25 March 2012. 

Sources[edit]

Further reading[edit]

  • Henderson, Linda Dalrymple (2013). The Fourth Dimension And Non-Euclidean Geometry In Modern Art (Revised ed.). Cambridge, Massachusetts: The MIT Press. ISBN 0262582449. 
  • Henderson, Linda Dalrymple (1998). Duchamp in Context: Science and Technology in the Large Glass and Related Works. Princeton, N.J: Princeton University Press. ISBN 9780691123868. 

External links[edit]

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