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This is a list of artists who actively exploredmathematics in their artworks.[4]Art forms practised by these artists includepainting,sculpture,architecture,textiles andorigami.
Some artists such asPiero della Francesca andLuca Pacioli went so far as to write books onmathematics in art. Della Francesca wrote books onsolid geometry and the emerging field ofperspective, includingDe Prospectiva Pingendi (On Perspective for Painting),Trattato d’Abaco (Abacus Treatise), andDe corporibus regularibus (Regular Solids),[5][6][7] while Pacioli wroteDe divina proportione (On Divine Proportion), with illustrations byLeonardo da Vinci, at the end of the fifteenth century.[8]
Merely making accepted use of some aspect of mathematics such asperspective does not qualify an artist for admission to this list.
The term "fine art" is used conventionally to cover the output of artists who produce a combination of paintings, drawings and sculptures.
| Artist | Dates | Artform | Contribution to mathematical art |
|---|---|---|---|
| Calatrava, Santiago | 1951– | Architecture | Mathematically-basedarchitecture[4][9] |
| Della Francesca, Piero | 1420–1492 | Fine art | Mathematical principles ofperspective in art;[10] his books includeDe prospectiva pingendi (On perspective for painting), Trattato d’Abaco (Abacus treatise), and De corporibus regularibus (Regular solids) |
| Demaine, Erik and Martin | 1981– | Origami | "Computational origami": mathematical curved surfaces in self-folding paper sculptures[11][12][13] |
| Dietz, Ada | 1882–1950 | Textiles | Weaving patterns based on the expansion of multivariatepolynomials[14] |
| Draves, Scott | 1968– | Digital art | Video art,VJing[15][16][17][18][19] |
| Dürer, Albrecht | 1471–1528 | Fine art | Mathematical theory of proportion[20][21] |
| Ernest, John | 1922–1994 | Fine art | Use ofgroup theory, self-replicating shapes in art[22][23] |
| Escher, M. C. | 1898–1972 | Fine art | Exploration oftessellations,hyperbolic geometry, assisted by thegeometerH. S. M. Coxeter[20][24] |
| Farmanfarmaian, Monir | 1922–2019 | Fine art | Geometric constructions exploring the infinite, especially mirror mosaics[25] |
| Ferguson, Helaman | 1940– | Digital art | Algorist,Digital artist[4] |
| Fomenko, Anatoly | 1940- | Illustration | Fantastical illustrations representing concepts from the mathematical field of topology[26][27] |
| Forakis, Peter | 1927–2009 | Sculpture | Pioneer of geometric forms in sculpture[28][29] |
| Grossman, Bathsheba | 1966– | Sculpture | Sculpture based on mathematical structures[30][31] |
| Hart, George W. | 1955– | Sculpture | Sculptures of 3-dimensionaltessellations (lattices)[4][32][33] |
| Radoslav Rochallyi | 1980– | Fine art | Equations-inspired mathematical visual art including mathematical structures.[34][35] |
| Hill, Anthony | 1930– | Fine art | Geometric abstraction inConstructivist art[36][37] |
| Leonardo da Vinci | 1452–1519 | Fine art | Mathematically-inspired proportion, includinggolden ratio (used as golden rectangles)[20][38] |
| Longhurst, Robert | 1949– | Sculpture | Sculptures ofminimal surfaces,saddle surfaces, and other mathematical concepts[39] |
| Man Ray | 1890–1976 | Fine art | Photographs and paintings of mathematical models inDada andSurrealist art[40] |
| Naderi Yeganeh, Hamid | 1990– | Fine art | Exploration oftessellations (resemblingrep-tiles)[41][42] |
| Pacioli, Luca | 1447–1517 | Fine art | Polyhedra (e.g.rhombicuboctahedron) inRenaissance art;[20][43] proportion, in his bookDe divina proportione |
| Perry, Charles O. | 1929–2011 | Sculpture | Mathematically-inspired sculpture[4][44][45] |
| Robbin, Tony | 1943– | Fine art | Painting, sculpture and computer visualizations of four-dimensional geometry[46] |
| Ri Ekl | 1984– | Visual computer poetry | Geometry-inspired poetry[47] |
| Saiers, Nelson | 2014– | Fine art | Mathematical concepts (toposes,Brown representability,Euler's identity, etc) play a central role in his artwork.[48][49][50] |
| Séquin, Carlo | 1941– | Digital art | computer graphics,geometric modelling, andsculpture[51][52][53] |
| Sugimoto, Hiroshi | 1948– | Photography, sculpture | Photography and sculptures of mathematical models,[54] inspired by the work of Man Ray[55] andMarcel Duchamp[56][57] |
| Taimina, Daina | 1954– | Textiles | Crochets ofhyperbolic space[58] |
| Thorsteinn, Einar | 1942–2015 | Architecture | Mathematically-inspired sculpture and architecture withpolyhedral, spherical shapes andtensile structures[59][60] |
| Uccello, Paolo | 1397–1475 | Fine art | Innovative use ofperspective grid, objects asmathematical solids (e.g.lances ascones)[61][62] |
| Kosmalski, Mikołaj Jakub | 1986 | Digital art | Exploration of spreadsheet software capabilities (OO Calc and MS Excel), generation of finite sets of points by parametric formulas, connecting these points by curved (usually cubic) and broken lines.[63] |
| Verhoeff, Jacobus | 1927–2018 | Sculpture | Escher-inspired mathematical sculptures such as lattice configurations andfractal formations[4][64] |
| Widmark, Anduriel | 1987– | Sculpture | Geometricglass sculpture usingtetrastix, andknot theory[65][66] |
Often consisting of repeating, flattened volumes tilted on a corner, Mr. Forakis's work had a mathematical demeanor; sometimes it evoked the black, chunky forms of the Minimalist sculptor Tony Smith.
The artist has suggested that his constructions can best be described in mathematical terminology, thus 'the theme involves a module, partition and a progression' which 'accounts for the disposition of the five white areas and permuted positioning of the groups of angle sections'. (Letter of 24 March 1963.)
The surfaces [of Longhurst's sculptures] generally have appealing sections withnegative curvature (saddle surfaces). This is a natural intuitive result of Longhurst's feeling for satisfying shape rather than a mathematically deduced result.
Mathematical Form 0009: Conic surface of revolution with constant negative curvature. x = a sinh v cos u; y = a sinh v sin u; z = ...
Conceptual Forms (Hypotrochoid), 2004 Gelatin silver print
it is his bold enjoyment of its mathematical development of shapes - the lances as long slender cones, the receding grid of broken arms on the ground, the wonderfully three-dimensional horses, the armoured men as systems of solids extrapolated in space - that makes this such a Renaissance masterpiece.
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