Graphic artist in the context of "Mathematics and art"

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👉 Graphic artist in the context of Mathematics and art

Mathematics and art are related in a variety of ways. Mathematics has itself been described as an art motivated by beauty. Mathematics can be discerned in arts such as music, dance, painting, architecture, sculpture, and textiles. This article focuses, however, on mathematics in the visual arts.

Mathematics and art have a long historical relationship. Artists have used mathematics since the 4th century BC when the Greek sculptor Polykleitos wrote his Canon, prescribing proportions conjectured to have been based on the ratio 1:2 for the ideal male nude. Persistent popular claims have been made for the use of the golden ratio in ancient art and architecture, without reliable evidence. In the Italian Renaissance, Luca Pacioli wrote the influential treatise De divina proportione (1509), illustrated with woodcuts by Leonardo da Vinci, on the use of the golden ratio in art. Another Italian painter, Piero della Francesca, developed Euclid's ideas on perspective in treatises such as De Prospectiva Pingendi, and in his paintings. The engraver Albrecht Dürer made many references to mathematics in his work Melencolia I. In modern times, the graphic artist M. C. Escher made intensive use of tessellation and hyperbolic geometry, with the help of the mathematician H. S. M. Coxeter, while the De Stijl movement led by Theo van Doesburg and Piet Mondrian explicitly embraced geometrical forms. Mathematics has inspired textile arts such as quilting, knitting, cross-stitch, crochet, embroidery, weaving, Turkish and other carpet-making, as well as kilim. In Islamic art, symmetries are evident in forms as varied as Persian girih and Moroccan zellige tilework, Mughal jali pierced stone screens, and widespread muqarnas vaulting.

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Graphic artist in the context of Hugo Henneberg

Hugo Henneberg (27 July 1863 – 11 July 1918) was an Austrian scientist, graphic artist, and art photographer.

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Graphic artist in the context of Max Ernst

Max Ernst (/ɜːrnst/; German: [ɛʁnst] 2 April 1891 – 1 April 1976) was a German-born painter, sculptor, printmaker, graphic artist, and poet. A prolific artist, Ernst was a primary pioneer of the Dada movement and surrealism in Europe. He had no formal artistic training, but his experimental attitude toward the making of art resulted in his invention of frottage—a technique that uses pencil rubbings of textured objects and relief surfaces to create images—and grattage, an analogous technique in which paint is scraped across canvas to reveal the imprints of the objects placed beneath. Ernst is noted for his unconventional drawing methods as well as for creating novels and pamphlets using the method of collages. He served as a soldier for four years during World War I, and this experience left him shocked, traumatised and critical of the modern world. During World War II he was designated an "undesirable foreigner" while living in France.

Ernst was born in Brühl. He began painting in 1909 while studying at the University of Bonn, and later joined the Die Rheinischen Expressionisten group of artists. Ernst's work often featured ironic juxtapositions of grotesque elements with cubist and expressionist motifs. He had a fascination with birds, often including his alter ego, Loplop, a bird, in his work. He eventually settled in France and achieved financial success in the 1950s. He died in Paris on 1 April 1976.

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Graphic artist in the context of Vasily Ivanovich Bazhenov

Vasily Ivanovich Bazhenov (Russian: Васи́лий Ива́нович Баже́нов; 12 March [O.S. 1 March] 1737 or 1738 – 13 August [O.S. 2 August] 1799) was a Russian neoclassical architect, graphic artist, architectural theorist and educator. Bazhenov and his associates Matvey Kazakov and Ivan Starov were the leading local architects of the Russian Enlightenment, a period dominated by foreign architects (Charles Cameron, Giacomo Quarenghi, Antonio Rinaldi and others). According to Dmitry Shvidkovsky, in the 1770s, Bazhenov became the first Russian architect to create a national architectural language since the 17th-century tradition interrupted by Peter the Great.

Bazhenov's early success was followed by a tragic professional and private life. His two main construction projects were abandoned for political or financial reasons. His magnum opus, the neoclassical Grand Kremlin Palace, was cancelled shortly after groundbreaking. The imperial palace in Tsaritsyno Park fell victim to the Battle of the Palaces; Bazhenov's palace core was demolished on the orders of Catherine II. Another project, for the Moscow State University building, ended in a bitter conflict with Bazhenov's former benefactor Prokofi Demidov and led Bazhenov into bankruptcy. Before his death, Bazhenov implored his children to stay aside from the treacherous construction business.

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Graphic artist in the context of Hans Richter (artist)

Hans Johannes Siegfried Richter (/ˈrɪktər/; German: [ˈʁɪçtɐ]; 6 April 1888 – 1 February 1976) was a German Dada painter, graphic artist, avant-garde film producer, and art historian. In 1965 he authored the book Dadaism about the history of the Dada movement. He was born in Berlin into a well-to-do family and died in Minusio, near Locarno, Switzerland.

From Expressionism through Dadaism, Constructivism and Neoplasticism, he was one of the major figures of avant-garde art in the 1910s and 1920s and a catalyst for intellectuals and artists in many disciplines. Richter helped organise exhibitions which revived interest in Dada, both in the United States and Europe. In 1956 he made Dadascope, a film dedicated to Dada poetry.

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Graphic artist in the context of Nina Genke-Meller

Nina Henrichovna Genke [Hɛŋkə] or Nina Henrichovna Genke-Meller, or Nina Henrichovna Henke-Meller (Russian: Нина Генке-Меллер, Нина Генке; Ukrainian: Ніна Генріхівна Генке-Меллер, romanizedNina Henrikhivna Henke-Meller or Ніна Генріхівна Генке, Nina Henrikhivna Henke; 19 April 1893 – 25 July 1954) was a Ukrainian-Russian avant-garde artist, (Suprematist, Futurist), designer, graphic artist and scenographer.

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