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The “fourth dimension”. Ter San Ter San
-Maurice Golubov on the “fourth dimension”
The term “fourth dimension”, although technically defined using mathematical computation, generally refers to the infinite
Relationship between time and space, a primary artistic concern during the early 20th century. Rejecting the traditions of onepoint perspective, artists began incorporating elements of multiple perspectives in their work, essentially departing from their
Own three-dimensional reality and creating a world of endless possibilities. Cubism, for example, shattered the picture plane, simultaneously portraying all sides of perspective anchored on a singular plane, “painting not as they saw it, but as they thought
Many artists of the early 20th century began using the fourth dimension as the foundation with which to explore the
Metaphysical content of geometric symbolism. They sought to create works which allowed the viewer to simultaneously exist in
Both the third and fourth dimension, without the use of traditional perspective or the familiarity of subjective iconography. While
The fourth dimension in all spectrums of visual art stands as an extension of the infinite, there are many different means of
Representation, such as time, space, or spirituality.
This exhibition will highlight the successes of mid-20th century artists who worked to represent the ideologies of the fourth
Dimension within their work, namely Nassos Daphnis, Maurice Golubov, Budd Hopkins, De Hirsch Margules, Irene Rice Pereira, Rolph Scarlett and Charmion von Wiegand. Please visit our website for more information on these artists and others in our

​We don't go overboard on knotty art theory here, yet we were rather
Struck by this piece, by the arts and science writer, Arthur I Miller. It
Was published to coincide with the centenary of the death of Henri
Poincaré: French physicist, mathematician, philosopher, and, according to Miller, the missing link between Picasso and
Einstein. Miller writes that Poincaré 1902 book, Science and
Hypothesis, pushed both the Spanish artist and the father of relativity
Towards great breakthroughs. Einstein came across Science and
Hypothesis while working as a patent clerk in Bern, and was struck by
The way Poincaré moved from the precepts of scientific theory towards
A more general understanding of knowledge. Miller quotes Einstein:
«Poincaré realised the truth [of the relation of everyday experience to
Scientific concepts] in his book. » Yet, he was also felt restricted by
Poincaré reliance on lab data, pushed Poincaré's ideas further, and hit
Upon the theory of relativity. Meanwhile, a friend of Picasso was also
Taken with the book, and took the trouble to explain some of the ideas
To the artist. Miller writes:'Picasso was particularly struck by Poincaré's advice on how to view
The fourth dimension, which artists considered another spatial
Dimension. If you could transport yourself into it, you would see every
Perspective of a scene at once. But how to project these perspectives
On to canvas? 'Picasso's dilemma led, of course, to Cubism. Those with a yen for
Early 20th century scientific theory can read the whole book here, as
It's now out of copyright. Any of you who like a few pictures with your
Words might want to take a look at our award-winning Picasso titles, offering a two-dimensional take on the fourth dimension
The “fourth dimension”
Zeitgenössische Kunst,  Malereien,  Acryl
Autor: Ter San
121.9 x  5.1 x  121.9 Zm  /   48 x  2 x  48 Zoll
Gewicht 4.54 kg
Themen: Mode  /   Herkunft: Deutschland  /   Genres: Romantik  /   Charakteristika: Studien  /   Authentizität: Original vom Künstler  /   Künstlertypen: Hobbykünstler  /   Aufhängungen: Auf Holz  /   Künstlerischer Trend: Französische Schule  /   Periode: Zeitgenössisch  /  
gepostet: 20 Februar, 2019 / bearbeitet: 20 Februar, 2019
Copyright Ter San

The “fourth dimension”
100.000 €  71.000 £  114.000 $ 
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Ter San
Ter San
Vereinigtes Königreich Großbritannien
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