The Fourth Dimension and Non-Euclidean Geometry in Modern Art

by Linda Dalrymple Henderson

The concept of the fourth dimension has had a liberating effect on artists in nearly every important movement, from French cubism to Surrealism. The artistic advocates for non-Euclidean geometry were fewer, but were also inspired by a new freedom from established artistic laws. Challenging art historians who attribute these concerns with new concepts of space to the influence of relativity theory, Linda Dalrymple Henderson finds their source in the widespread contemporary interest in spaces beyond immediate sensory perception - a fascination that had extensive cultural consequences.

As a prelude to her analysis of mdoern art in France, Italy, Russia, Holland, and America, the author provides a history of the popularization of the n-dimensional and non-Euclidean geometries during the 19th century. In particular, she discusses the writers who developed the philosophical and mystical implications of higher spatial dimensions and traces their influence on the major art movements of the period.

This lost tradition of spacial concepts, as resurrected and presented by Henderson, supplies a critical and long-neglected element in the history of 20th century art.

Genres: Art, Nonfiction, Science, Mathematics, Art History, Geometry

453 pages, Paperback

First published August 1, 1983

Reviews

[Sean Flinchpaugh · Rating 3 out of 5]

Would probably rate higher if I had a more in-depth background on Cubism and art movements circa 1910-1920. Reads as an addendum, or cultural critique, and if you don't come into the party with a certain level of knowledge, well hell, it's not gonna be a good party. It did help with visualizing the 4th dimension a bit and I both understand/appreciate what Cubists were trying to convey, so at the very least if you come away with a new appreciation of Cubism it won't be a total loss.

[John · Rating 4 out of 5]

Skipped chapters on America and Duchamp.

[A L]

An epic work of art history that helps to make the sequence of modernist art more coherent in the light of its summaries of contemporary science & superstitious trends.

[Tom Schulte · Rating 4 out of 5]

This revised edition of a work first published in 1983 details the impact and spread of non-Euclidean geometry and the idea of a fourth dimension into, mainly, early Twentieth Century art and thought. Henderson covers the gamut from philosophy topainting, literature to the plastic arts, and beyond. Along with a new index, there is an extensive hundred-page “Reintroduction” serving as the author’s reappraisal, history, and synopsis of this impressive work. Looking back on the three decades since publishing, Henderson considers the further impact of these concepts on art and culture in the late Twentieth Century. The work is well illustrated and it would have been nice had at least some of the numerous black and white plates been upgraded to color ones. This work is strongly persuasive that interpreting the fourth dimension theories and related topics was fundamental to the development of modern art...

[See my full review at MAA Reviews]

[Fraser Sherman · Rating 4 out of 5]

I actually read the recent second edition of this book but they're both impressive. Henderson looks at popular perceptions of the fourth dimension back when it was seen as a dimension of space rather than time and how some artists embraced that and attempted to capture a fourth dimension in their work (it played a part in Cubism's approach to art for instance). For others it was more of a mystical element, the dimension where the intensity and passion of art resided. Quite fascinating, with the obvious caveat that it's pretty specialized (there were some bits I just skimmed over).

[katie luisa borgesius]

Holy shit, seriously?