Physichromia

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Physichromia pro Matrito (Hispanice: Fisicromía para Madrid), figura a Carolo Cruz-Diez confecta et Matriti Hispaniae posita.

Physichromia (Graece: φύσις 'natura' + χρώμα 'color'; Anglice et Francice physichromie ; Hispanice fisicromía) est unum ex quattuor generibus artis oculorum a Carolo Cruz-Diez artifice cinetico[1] excogitatis, cuius aestimatio aesthetica ex motu dependet spectatoris, contra motum ipsius rei. Alia genera Cruz-Dieziana sunt chromointerferentia, chromosaturatio, et transchromia.[2]

Secundum artificem, physiochromia est "structura ad patefaciendas certas res et condiciones ad colorem pertinentís designata, quae secundum motum spectatoris vimque lucis mutant, et sic colorem in spatium proiciunt ut evolutionarius coloris addentis, repercutientis, deducentis status constituatur."[3]

Physichromiae sunt magna Cruz-Diez opera, quae primum erant "scidulae ligni laminati chartaeque crassae, iteratis coloris lineis, saepe variis angulis altitudinibusque praeditae. Partes dispertientes factae sunt ampliores. Duae dimensiones factae sunt tres. Animo concipe picturam bacillis popsicle ex muro extrudentibus effectam, coloribus adicientibus aliosque remittentibus colores."[4] "Quidquid materiae et rationes sint, omnia in artis operibus secundum angulum spectatoris mutant."[5]

Notae[recensere | fontem recensere]

  1. Francice artiste cinétique, sed Cruz-Diez se Anglice operational artist (fortasse Nova Latinitate artificem operationalem) appellat, nomen quod breviter op artist (artifex op) usitate datur, quamquam Anglica verba optical art (op art) et operational art (etiam op art) inter se differunt.
  2. The Gale Group, "Carlos Cruz-Diez." Contemporary Artists, 5th ed. St. James Press, 2001. In Biography Resource Center. Farmington Hills, Mich.: Thomson Gale. 2007.
  3. "A structure designed to reveal certain circumstances and conditions related to color, changing according to the movement of the viewer and the intensity of the light, and thus projecting color into space to create an evolutionary situation of additive, reflective, and subtractive color" (Pagina "Physichromie" apud publicum artificis situm).
  4. "Originally plywood and cardboard strips, with repeated lines of color, often at different angles and depths. The dividing pieces became thicker. Two-dimensions became three. Think of a picture made with popsicle sticks coming out from a wall, with colors adding to and reflecting other colors" (Spiegelman 2011).
  5. "Whatever the materials and techniques, everything in the pieces changes according to the angle of the viewer" (Spiegelman 2011).

Bibliographia[recensere | fontem recensere]

  • Spiegelman, Willard. 2011. "Painting From Another Angle." Wall Street Journal, 18 Maii, p. D7.

Nexus externus[recensere | fontem recensere]

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