The New Painting by Udo Kultermann (review)

398 Books Op Art. Cyril Barrett. Studio Vista, London, 1970. 192 pp., illus. E4.20. Reviewed by: Gerard Oster* This is the most intelligent and complete account of optical art that has yet appeared. The book is magnificently produced, starting with the cover, a moirC overlay by Ludwig Wilding, and lavishly illustrated in colour as well as in black and white. Black and white, by the way, is the favorite combination for many Op artists. By Op art is meant art in which the artist deliberately tries to provoke a pronounced visual psychological response in the viewer. These effects are achieved by a variety of means (relief, moirC, simultaneous contrast, etc.), which the author discusses in some detail. He wisely refrains, however , from probing too deeply into visual psychology . This would stultify the text and would lead into the quagmire that scientists often encounter when trying to rationalize the subtleties of the eye-mind complex. The author traces the early influences on Op art, beginning with the 1910-1920 abstract period (Delaunay et ul.). I consider the origin of Op art to go back much further in time, especially tenth century Islamic art where, indeed, the artists deliberately achieved striking visual effects with figures devoid of representational content. Op art of recent origin, especiallythe work of Riley and of Vasarely, is considered in the book in some detail, as is the work of some lesser known artists. Incidentally, the author has unearthed a 1936 Op painting of a somewhat representational character by Marcel Duchamp (again, far ahead of his time). The closing chapter of the book is a review of critical assessments of Op art by a number of leading art critics, some of whom the author challenges. The book ends with a quote from Bridget Riley that is worth repeating here: ‘I am absolutely certain that optical painting has added something to the language of formal art . . . which cannot be ignored or eradicated . . .. In the same sense that Cubism added something to a concept of space which, having been assimilated, cannot subsequently be discounted.’ The New Painting. Udo Kultermann. Pall Mall Press, London, 1969. 207 pp., illus. E7. Reviewed by : Gwyneth M. Thurgood** One of the most relevant questions of our time- ‘What is a painting?’-is posed in this most interesting book. Many of us have heard in art galleries: ‘Well, I rather like some of this modern art but what’s it all about?’ A study of Kultermann’s book, with its copious illustrations, will help one to find some of the answers. The author criticizes the misleading names frequently given to aspects of contemporary paint- *Department of Biophysics, Mount Sinai School of Medicine, Fifth Ave. and 110th St., New York, N.Y. 10029, U.S.A. **lo The Oval, New Barn, Longfield, Dartford, Kent, England. ing, which only perplex the spectator. He, therefore, discusses trends by comparing and inter-relating works rather than attempting to divide them into too formal categories and helps one to understand the intentions and motivations of the artists. The selection of material for a book on art unavoidably reflects the author’s outlook. The import of some of the illustrations may not be apparent, however, the text usually clarifiesthe reason for Kultermann’s choice. Many of the opinions expressed are debatable but they add to the book’s value. Our changing view of reality has resulted in a transformation of traditional aspects of painting. He points out the influences of even commonplace aspects of the environment and of modern technology upon the artist. Photographic and advertising techniques, comic strips, signsand familiar commercial objects have affected painting technique and the contents of pictures of numerous artists. He finds that contemporary interpretations of the human form are meaningful to the public and often represent popular personalities, such as film stars, politicians, astronauts and sportsmen. He suggests that the human body may now have ‘assumed the role which it once played in Eastern mythology as a symbol of the cosmos’ (p. 15). The book is the result of extensive research and of effort to collect significant examples of twentieth century painting. It is really worth reading and will be an essential asset of any...