A.P.Polo - Opticks

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A P POLO

# 449420

A.P.POLO - OPTICKS

Name: A.P.Polo - Opticks by A P Polo Wall Art
Brand: Pictorem
SKU: 449420
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A.P.Polo - "Opticks" - Hamburg (Germany) - New Media Art. Abstract, contemporary work that explores the theme of light and shadow while attempting to...[+]

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A.P.POLO - OPTICKS A P POLO Canvas Print

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Ready to hang - Stretched on 1.5" inch thick pine wood - Gallery style

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20 x 30 inches

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24 x 36 inches

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28 x 42 inches

72 x 108 cm

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32 x 48 inches

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37 x 55 inches

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40 x 60 inches

103 x 154 cm

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Acrylic Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )
We suggest a thicker 3/16" acrylic for any size over 42 inches to guarantee a straight acrylic, without curvature

1/8" thickness

3/16" thickness

1/8" Thickness:

13 x 20 inches

33 x 51 cm

1/8 with 4 metal stand off

^$321

16 x 24 inches

41 x 62 cm

1/8 with 4 metal stand off

^$411

20 x 30 inches

51 x 77 cm

1/8 with 4 metal stand off

^$569

24 x 36 inches

62 x 92 cm

1/8 with 4 metal stand off

^$762

28 x 42 inches

72 x 108 cm

1/8 with 4 metal stand off

^$990

32 x 48 inches

82 x 123 cm

1/8 with 6 metal stand off

^$1253

37 x 55 inches

95 x 141 cm

1/8 with 6 metal stand off

^$1976

40 x 60 inches

103 x 154 cm

1/8 with 6 metal stand off

^$2243

48 x 72 inches

123 x 185 cm

1/8 with 6 metal stand off

^$3373

3/16" Thickness:

13 x 20 inches

33 x 51 cm

3/16 with 4 metal stand off

^$444

16 x 24 inches

41 x 62 cm

3/16 with 4 metal stand off

^$559

20 x 30 inches

51 x 77 cm

3/16 with 4 metal stand off

^$759

24 x 36 inches

62 x 92 cm

3/16 with 4 metal stand off

^$1003

28 x 42 inches

72 x 108 cm

3/16 with 4 metal stand off

^$1292

32 x 48 inches

82 x 123 cm

3/16 with 4 metal stand off

^$1625

37 x 55 inches

95 x 141 cm

3/16 with 6 metal stand off

^$2446

40 x 60 inches

103 x 154 cm

3/16 with 6 metal stand off

^$2783

48 x 72 inches

123 x 185 cm

3/16 with 6 metal stand off

^$4120

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Brushed Metal Print

Smooth White Metal Print

The areas of the photograph that are white or very light are not printed The white areas appear metallic.
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Brushed Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

Brushed Metal Print with Stand off

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White Metal Print with Floating Frame on the back

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White Metal Print with Stand off

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A.P.Polo - Opticks HD Metal print with Floating Frame on Back

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A.P.Polo - Opticks HD Sublimation Metal print

A.P.Polo - Opticks HD Sublimation Metal print with Decorating Float Frame (BOX)

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This artwork is produced on a dye sublimation Chromaluxe high-definition metal panel

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Printed with UV cured inks providing an incredible high quality printed image which is scratch resistant with colors that will not fade overtime.
White and lighter areas are not printed on the wood, revealing the beauty of the wood’s texture and natural beauty!
Printed on 3/8" (9mm) thick and strong and durable Russian Birch wood which is ready to hang and enjoy! [+]

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Premium Acid Free Giclée Poster Paper

Printed on Photo Satin Paper - ( Poster ) Provided inside a Strong mailing tube [+]

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A.P.Polo - Opticks Picture Frame Printing

Frame model shown: 832-745

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16 x 22"

^$261

16 x 22" Framed Print

Printed Area: 12 x 18"
Total Inside area: 16.00 x 22.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 23.25 x 17.25"

Frame model: 832-745
Printing method: 1200dpi UV cured ink on fine art matte board
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20 x 28"

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20 x 28" Framed Print

Printed Area: 16 x 24"
Total Inside area: 20.00 x 28.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 29.25 x 21.25"

Frame model: 832-745
Printing method: 1200dpi UV cured ink on fine art matte board
Ready to hang with wire at the back

24 x 34"

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24 x 34" Framed Print

Printed Area: 20 x 30"
Total Inside area: 24.00 x 34.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 35.25 x 25.25"

Frame model: 832-745
Printing method: 1200dpi UV cured ink on fine art matte board
Ready to hang with wire at the back

28 x 40"

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28 x 40" Framed Print

Printed Area: 24 x 36"
Total Inside area: 28.00 x 40.00"
White Border: 2" on each side
Frame Width: 1.63" on each side
Total Physical dimension: 41.63 x 29.63"

Frame model: 800-967
Printing method: 1200dpi UV cured ink on fine art matte board
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Sublimation High-Gloss Jigsaw Puzzle Print

A.P.Polo - Opticks A P Polo Puzzle printing

Precisely produced by HD Sublimation Process & Protected by a high-gloss varnish.
Unlike traditional printing — This artwork is produced with by sublimation print. We utilize heat and pressure to transfer images directly into the surface of the Puzzle, bonding your image to the substrate at the molecular level.

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120 pcs 11 x 8 inches Puzzle High Gloss

20 x 28 cm

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30 x 42 cm

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500 pcs 21 x 15 inches Puzzle High Gloss

40 x 54 cm

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1000 pcs 27 x 17.50 inches Puzzle High Gloss

45 x 69 cm

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1500 pcs 36 x 24 inches Puzzle High Gloss

61 x 91 cm

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Wall Clock

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This artwork is Made with high-quality acrylic Ready to hang.

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Clock mechanism with a Precise quartz movement. Battery included
Available in Square or Round format
Available in 12" 16" 24" sizes

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File resolution: 6000 x 9000 pixels

ABOUT A P POLO fs
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ABOUT THIS ARTWORK: A.P.POLO - OPTICKS
A.P.Polo - "Opticks" - Hamburg (Germany) - New Media Art. Abstract, contemporary work that explores the theme of light and shadow while attempting to depict the paradox of "regular irregularity". This artwork can basically be classified as concrete art. Opticks: or, A Treatise of the Reflexions, Refractions, Inflexions and Colours of Light is a book by English natural philosopher Isaac Newton that was published in English in 1704. The book analyzes the fundamental nature of light by means of the refraction of light with prisms and lenses, the diffraction of light by closely spaced sheets of glass, and the behaviour of color mixtures with spectral lights or pigment powders. Opticks was Newton's second major book on physical science and it is considered one of the three major works on optics during the Scientific Revolution (alongside Kepler's Astronomiae Pars Optica and Huygens' Traité de la Lumière). Newton's name did not appear on the title page of the first edition of Opticks. The publication of Opticks represented a major contribution to science, different from but in some ways rivalling the Principia. Opticks is largely a record of experiments and the deductions made from them, covering a wide range of topics in what was later to be known as physical optics. That is, this work is not a geometric discussion of catoptrics or dioptrics, the traditional subjects of reflection of light by mirrors of different shapes and the exploration of how light is "bent" as it passes from one medium, such as air, into another, such as water or glass. Rather, the Opticks is a study of the nature of light and colour and the various phenomena of diffraction, which Newton called the "inflexion" of light. In this book Newton sets forth in full his experiments, first reported to the Royal Society of London in 1672, on dispersion, or the separation of light into a spectrum of its component colours. He demonstrates how the appearance of color arises from selective absorption, reflection, or transmission of the various component parts of the incident light. The major significance of Newton's work is that it overturned the dogma, attributed to Aristotle or Theophrastus and accepted by scholars in Newton's time, that "pure" light (such as the light attributed to the Sun) is fundamentally white or colourless, and is altered into color by mixture with darkness caused by interactions with matter. Newton showed just the opposite was true: light is composed of different spectral hues (he describes seven — red, orange, yellow, green, blue, indigo and violet), and all colours, including white, are formed by various mixtures of these hues. He demonstrates that color arises from a physical property of light — each hue is refracted at a characteristic angle by a prism or lens — but he clearly states that color is a sensation within the mind and not an inherent property of material objects or of light itself. For example, he demonstrates that a red violet (magenta) color can be mixed by overlapping the red and violet ends of two spectra, although this color does not appear in the spectrum and therefore is not a "color of light". By connecting the red and violet ends of the spectrum, he organised all colours as a color circle that both quantitatively predicts color mixtures and qualitatively describes the perceived similarity among hues. Newton's contribution to prismatic dispersion was the first to outline multiple-prism arrays. Multiple-prism configurations, as beam expanders, became central to the design of the tunable laser more than 275 years later and set the stage for the development of the multiple-prism dispersion theory. Opticks differs in many respects from the Principia. It was first published in English rather than in the Latin used by European philosophers, contributing to the development of a vernacular science literature. The book is a model of popular science exposition: although Newton's English is somewhat dated—he shows a fondness for lengthy sentences with much embedded qualifications—the book can still be easily understood by a modern reader. In contrast, few readers of Newton's time found the Principia accessible or even comprehensible. His formal but flexible style shows colloquialisms and metaphorical word choice. Unlike the Principia, Opticks is not developed using the geometric convention of propositions proved by deduction from either previous propositions, lemmas or first principles (or axioms). Instead, axioms define the meaning of technical terms or fundamental properties of matter and light, and the stated propositions are demonstrated by means of specific, carefully described experiments. The first sentence of the book declares - "My Design in this Book is not to explain the Properties of Light by Hypotheses, but to propose and prove them by Reason and Experiments." In an Experimentum crucis or "critical experiment" (Book I, Part II, Theorem ii), Newton showed that the color of light corresponded to its "degree of refrangibility" (angle of refraction), and that this angle cannot be changed by additional reflection or refraction or by passing the light through a coloured filter. The work is a vade mecum of the experimenter's art, displaying in many examples how to use observation to propose factual generalisations about the physical world and then exclude competing explanations by specific experimental tests. However, unlike the Principia, which vowed Non fingo hypotheses or "I make no hypotheses" outside the deductive method, the Opticks develops conjectures about light that go beyond the experimental evidence: for example, that the physical behaviour of light was due its "corpuscular" nature as small particles, or that perceived colours were harmonically proportioned like the tones of a diatonic musical scale. Concrete art was an art movement with a strong emphasis on geometrical abstraction. The term was first formulated by Theo van Doesburg and was then used by him in 1930 to define the difference between his vision of art and that of other abstract artists of the time. "The work of art must be completely conceived and shaped in the mind before it is executed. It must contain nothing of the formal realities of nature, the senses and the feelings. We want to eliminate lyricism, drama, symbolism and so on. The picture must be constructed exclusively from plastic elements, i.e. from surfaces and colours. A picture element has no other meaning than itself. For we have left the time of searching and speculative experiments behind us. In the search for purity, artists were forced to destroy the natural form. Today the idea of the art form is as obsolete as the idea of the natural form. We foresee the time of pure painting. For nothing is more concrete, more real, than a line, a colour, a surface. Concrete and not abstract painting. For the spirit has reached the state of maturity. It needs clear, intellectual means to manifest itself in a concrete way. Colour is the basic substance of painting; it means only itself. Painting is a means of realising thought in a visual way: Every painting is a colour thought. Before the work is transformed into matter, it exists in a complete way in consciousness. It is also necessary that the realisation has a technical perfection equal to that of the mental design. We work with the quantities of mathematics - Euclidean or non-Euclidean - and science, that is: with the means of thought." "Painting is a means of realising thought in an optical way". After his death in 1931, the term was further defined and popularized by Max Bill, who organized the first international exhibition in 1944 and went on to help promote the style in Latin America. The term was taken up widely after World War 2 and promoted through a number of international exhibitions and art movements. Around 1903, a major turning point in art began. Painting and sculpture became increasingly distant from visible reality. Henri Matisse said that when you look at a painting, you have to completely forget what it represents. It is art that grants form, colour and pictorial composition far-reaching autonomy from the representational. This movement away from the world of the visible was called abstraction. It is about concentrating on the essential, the necessary. From 1910 onwards, an art emerged that consistently pursued the path of abstraction. Every remnant of representation, pictorial or figurative, was rejected: "Could such an art - which had obviously become completely independent - still be called an extreme form of abstraction, integral or total abstraction? Was there not something fundamentally new, a complete autonomy of pictorial design?" Wassily Kandinsky stated that art now only followed its own, art-immanent laws. It was an art of pure non-objectivity. Quote: "The new art has brought to the fore the principle that art can only have itself as its content. Thus we do not find in it the idea of anything, but only the idea of art itself, of its self-content. Art's very own idea is its non-objectivity." In 1930, Michel Seuphor had defined the role of the abstract artist in the first issue of Cercle et Carré. It was “to establish, on the foundations of a structure that is simple, severe and unadorned in every part, and within a basis of unconcealed narrow unity with this structure, an architecture which, using the technical means available to its period, expresses in a clear language that which is truly immanent and immutable.” The art historian Werner Haftmann traces the development of the pure abstraction proposed by Seuphor to the synthesis of Russian Constructivism and Dutch Neo-Plasticism in the Bauhaus, where painting abandoned the artificiality of representation for technological authenticity. “In close connection with architecture and engineering, art should endeavour to give form to life itself. The former provided new sources of inspiration as well as new materials – steel, aluminium, glass, synthetic materials.” As van Doesburg had pointed out in his manifesto, in order to be universal, art must abandon subjectivity and find impersonal inspiration purely in the elements of which it is constructed: line, plane and color. Some later artists associated with this tendency, such as Victor Vasarély, Jean Dewasne, Mario Negro and Richard Mortensen, only came to painting after first studying science. Nevertheless, all theoretical advances seek justification in past practice, and in this case the mathematical proportions expressed in abstract form are to be identified in various art forms over millennia. Thus, argued Haftmann, “the elimination of representational images and the overt use of pure geometry do not imply a radical and definitive rejection of the great art of the past, but rather a reassertion of its eternal values stripped of their historical and social disguises.” While Abstraction-Création was a grouping of all modernistic tendencies, there were those within it who carried the idea of mathematically inspired art and the term ‘concrete art’ to other countries when they moved elsewhere. A key figure among them was Joaquin Torres García, who returned to South America in 1934 and mentored artists there. Some of those went on to found the group Arte Concreto Invención in Buenos Aires in 1945. Another was the designer Max Bill, who had studied at the Bauhaus in 1927-9. After returning to Switzerland, he helped organize the Allianz group to champion the ideals of Concrete Art. In 1944 he organized the first international exhibition in Basle and at the same time founded abstract-konkret, the monthly bulletin of the Gallerie des Eaux Vives in Zurich. By 1960 Bill was organizing a large retrospective exhibition of Concrete Art in Zürich illustrating 50 years of its development. In 1949, Max Bill formulated the goal of Concrete Art in his introduction to the catalogue of the Zurich Concrete Art exhibition: "The goal of Concrete Art is to develop objects for intellectual use, in a similar way to how man creates objects for material use. In its ultimate consequence, concrete art is the pure expression of harmonious measure and law. It orders systems and gives life to these orders by artistic means".

This artwork can be shipped worldwide when ordered on Canvas & Poster Roll
Any other format including, Stretched Canvas, Acrylic etc, ships only in Continental USA & Canada (Free shipping)