Horror vacui
From Wikipedia, the free encyclopedia
 |
This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources (ideally, using inline citations). Unsourced material may be challenged and removed. (June 2008) |
In philosophy the horror vacui stands for a theory initially proposed by Aristotle stating that nature abhors a vacuum, and therefore empty space would always be trying to suck in gas or liquids to avoid being empty. The theory was for a long time widely accepted and still supported by Galileo Galilei[citation needed]. His pupil Evangelista Torricelli stated in 1644 that the level of mercury in a closed tube was dependent on the pressure of surrounding air. In 1647 Blaise Pascal proved this notion in his famous vide dans le vide (“emptiness in emptiness”) experiment. The Magdeburg Hemispheres by Otto von Guericke were in 1650 further proof that Aristotle's theory was not correct (see more on this topic in history of thermodynamics). For a scholarly discussion Leviathan and the Airpump, by Shapin and Schaffer 1985, is particularly instructive in the 17th century debate between Hobbes, supporting the plenum, and Boyle's experimental demonstration of the vacuum.
In visual art, horror vacui (literally: fear of empty spaces, also known as cenophobia) is the filling of the entire surface of an artwork with detail.
The term is associated with the Italian critic and scholar Mario Praz, who used it to describe the suffocating atmosphere and clutter of interior design in the Victorian age. Older examples can be seen on Migration period art objects such as the jewellery at Sutton Hoo or the Ruthwell Cross. Moving east, this feeling of meticulously filling empty spaces permeates Arabesque Islamic art from ancient times to the present. Yet another example comes from ancient Greece during the Geometric Age (1100 - 900 BCE), when horror vacui was considered a stylistic element of all art. The mature work of the French Renaissance engraver Jean Duvet consistently exhibits horror vacui.
Many examples of horror vacui in art come from, or are influenced by, the mentally unstable and inmates of psychiatric hospitals, and fall under the category of Outsider Art. Horror vacui may have also had an impact, consciously or unconsciously, on graphic design by artists like David Carson or Vaughan Oliver, and in the underground comix movement in the work of S. Clay Wilson, Robert Crumb, Robert Williams, and on later comic artists such as Mark Beyer. The paintings of Williams, Faris Badwan, Joe Coleman and Todd Schorr are further examples of horror vacui in the modern Lowbrow art movement.
The entheogen-inspired visionary art of certain indigenous peoples, such as the Huichol yarn paintings and the ayahuasca-inspired art of Pablo Amaringo, often exhibits this style, as does the psychedelic art movement of the 1960s counterculture. Sometimes the patterned art in clothing of indigenous peoples of Middle and South America exhibits horror vacui. For example the geometric molas of Kuna people and the traditional clothing on Shipibo-Conibo people.
The artwork in the Where's Waldo series of children's books is a commonly-known example of horror vacui.
The Tingatinga painting style of Dar es Salaam in Tanzania is a contemporary example of horror vacui. Other African artists such as Malangatana of Mozambique (Malangatana Ngwenya) also fill the canvas in this way.
It may also be used in reference to the fear of the ancient Romans in stepping beyond their own boundaries.
