ASSISI CONVENT SCHOOL

Noida, Uttar Pradesh-201301

MATHS ART INTEGRATED LEARNING PROJECT ON

The Mathematics of Art:

Aesthetics of Calculations
SUBMITTED BY
NAME : SNEHA CHAUDHARY
CLASS : XII-E
ROLL NO. : 08
ADMISSION NO. : S3092
ACTIVITY S.NO : 4.1.1.3
DURATION : 4TH OCTOBER 2020 TO 28TH OCTOBER 2020
 The Mathematics of Art: Aesthetics of Calculations

The relationships between

art and math are older
than we think. In pre-
Columbian cultures, for
example, there is a
multitude of artworks
(actually, aesthetic
artefacts) that
demonstrate the
knowledge of geometric
patterns. But this Aesthetic artefacts
connection became, in
fact, more apparent during
the Renaissance  when
artists realized that basic
notions of mathematics
such as perspective and
symmetry would make the
artwork more realistic.
The Mathematics of Art: Aesthetics of Calculations

Art and Math may at first seem to

be very differing things, but
people who enjoy math tend to
look for mathematics in art. 
They want to see the patterns and
angles and lines of perspective. 
This is why so many artists
appeal to mathematicians so
much.  There is a large amount
of math involved in art, not to
mention basic things like
measuring and lines, but the
intricacies of art can often be
described using math.
 FIBONACCI SEQUENCE in Leonardo da
Vinci’s, “Mona Lisa”, 1503
The Golden Ratio also known as Divine Proportion,
this is a real irrational algebra constant which has the
approximate value of 1.618. This constant (as the name
implies, something fixed, an opposition to the concept
of variable) is represented by the Greek letter φ and is a
tribute to an artist: the sculptor Phidias, who used this
proportion to design one of the most known
architectural projects of Antiquity: The Parthenon.
The golden ratio is a pattern that repeats itself in
nature. That is why it is so fascinating and so celebrated
by many Renaissance artists who wanted to revive the
ideals of Antiquity but at the same time, they also
wanted to ground their art in the scientific evidence.
Mona Lisa, another masterpiece of Leonardo da Vinci,
presents the golden proportion in the face and also
between the neck-head ratio, which means that the ratio
between these parts is 1.618. This is due to  Da Vinci’s
interest not only in anatomy  but also in mathematics
Leonardo da Vinci’s,
Mona Lisa, 1503
 PROPORTION in Leonardo da Vinci,
“Vitruvius” Man, 1490
One of the most significant works in this
sense is actually a study. In 1490, Leonardo
da Vinci Leonardo puts on paper the concept
of proportion conceived by Vitruvius, a
Roman architect of the first century of our
era. In this sketch, which is one of the most
celebrated works by da Vinci, the artist used
mathematics to elaborate the ideal
proportions of the human body. According to
the calculations, the measure of the length of
the open arms of a man is equal to his
height, for example.
Leonardo carefully drew the man, known to
us as Vitruvian Man, and placed him within
two well-known geometric shapes, a circle
and a square, a composition that is
noteworthy, considering the structure of the Leonardo da Vinci’s
drawing. Vitruvius Man, 1490
ASCENDING & DESCENDING in M.C. Escher's “Relativity”, 1953

M.C. Escher is a famous artist who created

mathematically challenging artwork.  He used
only simple drawing tools and the naked eye,
but was able to create stunning mathematical
pieces.  He focused on the division of the
plane and played with impossible spaces.  He
produced polytypes, sometimes in drawings,
which cannot be constructed in the real world,
but can be described using mathematics. His
drawings caught the eyes and looked possible
by perception, but were mathematically
impossible.  His particular
drawing, Ascending and Descending, was
one of these masterpieces. In this drawing,
Escher creates a staircase that continues to
ascend and descend, which is mathematically
impossible, but the drawing makes it seem
realistic. The image, Relativity, is an
example. M.C. Escher's "Relativity“, 1953
GEOMETRIC SHAPES & LINES in Wassily
Kandinsky, “Composition VIII”, 1923
The Russian artist Wassily
Kandinsky, best known for his  
abstract artworks and for being
a Bauhaus teacher, was one of the
painters who used mathematics in
his creations.In his most abstract
works, Kandinsky used many
mathematical concepts. Concentric
circles, open and closed lines,
triangles. Geometry.

Composition VIII, produced in

1923 by Russian artist Wassily
Kandinsky, is an oil-on-canvas
painting created in the Abstract
style. The painting consists of a
variety of geometric shapes, colours,
straight and curved lines set against Wassily Kandinsky, “Composition VIII”, 1923
a background of cream that melds at
certain points into areas of pale blue.
 CATASTROPHE THEORY OF RENE’ THOM in Salvador Dali's,”The
Swallow's Tail”,1983

The Swallow's Tail — Series of Catastrophes

was Salvador Dali's last painting. It was completed in
May 1983, as the final part of a series based on the
mathematical catastrophe theory of René Thom.
Thom suggested that in four-dimensional phenomena,
there are seven possible equilibrium surfaces, and
therefore seven possible discontinuities, or "elementary
catastrophes": fold, cusp, swallowtail, butterfly, hyper
bolic umbilic, elliptic umbilic, & parabolic umbilic.[1]
 "The shape of Dalí's Swallow's Tail is taken directly
from Thom's four-dimensional graph of the same title,
combined with a second catastrophe graph, the s-curve
that Thom dubbed, 'the cusp'. Thom's model is Salvodor Dali’s,”The Swallow's
presented alongside the elegant curves of a cello & the   Tail”,1983
instrument's f-holes, which, especially as they lack the
and the term queue d'aronde. The seismic
small pointed side-cuts of a traditional f-hole, equally
fracture that transverses Topological
connote the mathematical symbol for an integral
Abduction of Europe reappears in The
in calculus: ∫. The lower left corner of which features an
Swallow's Tail at the precise point where
equation closely linked to the "swallow's tail": 
the y-axis of the swallow's tail graph
 an illustration of the graph,
intersects with the S-curve of the cusp.
THE END