Background. Analyzing the recent publications one can observe that scientists are quite interested in optical art. The issues of op-art in the Ukrainian art have been investigated by V.Kosiv, N.Diadiukh-Bohatko and L.Andrushko, I.Kuznetsova and O.Arbuzova, S.Bodnarenko and V.Nekrasa. The research of foreign scientists, where the authors argue that studies in fine arts can bring important conclusions about the visual system, is of importance in the development of this topic.Therefore, analyzing the processes of the development of traditional and modern artistic forms, it can be stated that op-art both in the Ukrainian cultural environment and in general, continues to exist, but in somewhat modified form.
Goals. The purpose of this article is to review key ideas, author's models and preconditions for the development of op-art in XX - beginning of XXI centuries. The objective of the proposed publication is the widest representation of op-art in various spheres and directions of the modern artistic process, as well as to reveal the potential opportunities for the creation of a new visual art.
Methods. In the course of this work, generalization and idealization were taken for the main methods. Basic methods such as abstraction, analogy, modeling and hypothetical approach were also used in this study.
Results. The article reviews the origins and formation of optical art. The psychophysical influence of optical illusions on the recipient has been considered. The key concepts of op-art development and their influence on the development of contemporary art in general have been outlined. The emergence and significance of anonymous groups in Western Europe that explore a wide range of kinetic art and optical effects using various types of artificial light and mechanical motion has been explored. The influence of technological progress on the formation of optical techniques in art has been determined, as well as their specificity and transformation into various areas of the artistic process. The role of synthesis of op-art and kinetic art in creating a wide range of visual effects has been traced. Possibilities of application of optical illusions in various aspects of cultural and artistic process have been revealed. The history of the creation of anonymous groups and their influence on the stylistic peculiarities of the art has been studied.
The article demonstrates the significance of volumetric - spatial structures in the modern globalized world and their convergence with the forms of massive spectacles and attractions using optical techniques. At the same time, the importance of further research of the little-known phenomenon of optical art in Ukraine has been emphasized.
Conclusions. Summing up the influence and historical aspects of the development of op-art, one can confidently state that there is no clear answer and criteria for designating a direction to specific frames, since there are many different factors, each of which makes some modifications to optical illusions. This is not just about the visual component, but also about an ideology that collectively expands the field for experiments. Thus, one can state that the present theoretical research about the emergence of op-art and its significance in the modern globalized world’s art demonstrates the existence of various conceptual approaches and reveals new vectors of representing the art of the third millennium. Therefore, it should be noted that artistic modifications that occur under the influence of modern technologies require more attention and deeper investigation of the poorly-studied phenomenon of the optical art in Ukraine.
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