Artists have always been interested in the theory of perception of color, form, and perspective. To improve the painting technique, the masters began to study the optical effects and illusions of a two-dimensional plane. The theory of visual perception became the basis of impressionism, and the interest in geometric forms laid the foundation for cubism. The illusory form used by Salvador Dalí and Maurits Escher applied to their surrealist compositions. The rapid technological progress of the 20th century and the development of psychology and other sciences resulted in a new trend. Optical art paintings are often created from abstract shapes in sharp contrast to the background, giving the subjects a three-dimensional perception. In this way, visual effects confuse and stimulate viewers' visual experience.
The very first op art exhibitions attracted the attention of the general public. Many viewers felt that op art was the ideal art direction for the modern world with its new achievements in technology, psychology, medicine, digital and television technologies. The term "OP-ART" was first used by the artist and writer Donald Judd in a review of Julian Stanczyk's exhibition Optical Paintings. The new name quickly picked up. An article in the Times devoted to the same exhibition finally strengthened this visual art as a separate direction.
The Neo-Surrealist Manifesto. George Grie 2009