ctll hiat&ah l crystallography in art & archaeology · to show how crystallography can be...

Warwick Physics ColloquiumWed. April 29, 2009

C t ll h i A t & A h l

p ,

Crystallography in Art & Archaeology

Eric DooryhéeEric DooryhéeInstitut Néel - CNRS Grenoble (FR)

acknowledgment: P. Martinetto, J-L. Hodeau, M. Anne.

Néel Institute (formerly Laboratory of Crystallography)

P W lt J C t i G T i L LP. Walter, J. Castaing, G. Tsoucaris, Le Louvre

www.neel.cnrs.fr

Past Employment

June 2009 NSLS II powder diffraction (US)2001-2008 senior scientist fellowship (Néel Institute FR)2001 2008 senior scientist fellowship (Néel Institute, FR)1996-2000 powder diffraction (ESRF, FR)1990-1995 high energy ion research center (GANIL, FR)1988 1989 post doc powder diffraction (SRS Daresbury UK)1988-1989 post-doc powder diffraction (SRS Daresbury, UK)≤1987 graduated in Paris

Research

• powder diffraction (SRS, ESRF, SOLEIL, neutrons ILL)• epitaxial thin films/multilayers of oxides (ferroelectric, relaxor, magnetic)

lt l h it (“SR/ t ll h i A t d A h l ”)• cultural heritage (“SR/crystallography in Art and Archaeology”) • colour fixing in analogues of Maya Blue and lacquer hybrid pigments

www.neel.cnrs.fr

SR2A : Synchrotron in Art and Archaeology

Diamond Light Source is pleased toannounce their involvement in Artweeks,the Oxfordshire visual arts festivalthe Oxfordshire visual arts festival…Diamond continues to be involved in artsprojects to demonstrate the links between

i dscience and art …

SOLEIL : the Heritage and Archaeology Liaison Office (HALO) provides support to access all the synchrotron beamlines of the p pp yfacility.

• Art/Science interface : a long story where crystallography should play acentral/leading role (societal impact)

“The lack of communication between the sciences and the humanities —the "two cultures" of modern society — is a major obstacle for solving theworld's problems”.p

D. P. Barash, C.P. Snow: Bridging the Two-Cultures Divide, The Chronicleof Higher Educ 52 B10 (2005)of Higher Educ. 52, B10 (2005)C.P. Snow, ‘The Two Cultures and the Scientific Revolution’ (CambridgeUniversity Press Cambridge 1962)

• Name Crystallography in Art and Cultural Heritage• Acronym CrysAC• Chair eric dooryhee@grenoble cnrs fr• Chair [email protected]

approved by the 21st IUCr General Assembly on 08/2008 (Osaka)pp y y ( )

www.crystallography.fr/crysac/IUCr NewsLetter Vol. 16, No. 3 (2008)

• Name Crystallography in Art and Cultural Heritage• Acronym CrysAC• Chair eric dooryhee@grenoble cnrs fr• Chair [email protected]

approved by the 21st IUCr General Assembly on 08/2008 (Osaka)pp y y ( )

www.crystallography.fr/crysac/IUCr NewsLetter Vol. 16, No. 3 (2008)

- To organize/coordinate a network of crystallographers and art- To organize/coordinate a network of crystallographers and artspecialists

- To promote the crystallographic concepts and techniques (not just as atool) in this frontier field (cross disciplinarity)tool) in this frontier field (cross-disciplinarity)

• art designers, artists, craftsmen, architects, art historians• museum curators, conservators• archaeologists

• Terms of reference : part 1

Many concepts (e.g. symmetry, patterning) are recurrently used in arta y co cepts (e g sy et y, patte g) a e ecu e t y used a tand artefacts (paintings, sculptures, mosaics, textiles,…)

To analyze the fundamental crystallographic content in a work of arty y g p

To show how crystallography can be the basis for the creation of art(source of inspiration) : patterns sculptures design in manufacturing(source of inspiration) : patterns, sculptures, design in manufacturingbased on atomic and molecular models (to help produce crystalstructure-inspired art)

How does art provide some advanced support to crystallography, orgraphically (2D, 3D) illustrate crystallographic ideas/models

• Terms of reference : part 1 (cont’d)

Safeguarding of crystal models crystallographic displays : some Safeguarding of crystal models, crystallographic displays : somecrystallographic productions (2D or 3D patterns, structures) areinherently artistic and hence, have an enduring value as historicalrecords in structural sciences (biology chemistry solid-state ) Torecords in structural sciences (biology, chemistry, solid state, …). Toensure care and maintenance of this “crystallographic culturalheritage“.

Educational purposes : promotion and teaching of Crystallography;elaboration of didactic material an opportunity to illustrate andpopularise the main crystallographic concepts to graduates and publicp p y g p p g p

• Terms of reference : part 2

To implement advanced crystallographic methods (experimental andTo implement advanced crystallographic methods (experimental andtheory) to the analysis of artefacts

T id t ll h f l h t ll th ( l To consider crystallography as a powerful approach to all those (rarelytrained in diffraction, symmetry and group theory) who are involved inthe interpretation of artworks

To develop diffraction-based microanalysis and imaging, for diagnosisand identification of cultural and art objects (authentification, know-howof past societies, conservation)

MembershippDooryhée Eric (FR) [email protected] Celerino (US) [email protected] Gautam (IN) [email protected] Emil (DK) [email protected] Simona (IT) [email protected] Alicja (PL) [email protected]

( ) @Thalal Abdelmalek (MA) [email protected]ürn Anke (CH) [email protected]

ConsultantsArtioli Gilberto (IT) [email protected] Jean Marc (FR) jm@castera netCastera Jean-Marc (FR) [email protected] Wulf (DE) [email protected]ï István (HU) [email protected] Martin (UK) martin kemp@history-of-art oxford ac ukKemp Martin (UK) [email protected] Edgar (US) [email protected] Massimo (FR) [email protected] Georges (FR) georges tsoucaris@culture gouv frTsoucaris Georges (FR) [email protected]

Th XXV E C t ll hi M tiThe XXV European Crystallographic Meeting 16 -21 August 2009, Istanbul, Turkey.

Workshop : Symmetry and Crystallography in Turkish Art and CultureSatellite workshop of ECM-25, Istanbul, 14-16 August 2009

jointly organized by MathCryst and CrysAC

Microsymposium : Crystallography in Art and ArchaeologyMicrosymposium : Crystallography in Art and ArchaeologyChairs : E. Dooryhée (FR) and P. Bezdika (CZ)

Programme : www.ecm25.org/

I Analyses of symmetry patterns in art

II Cr stallographic st dies of archaeological artefactsII Crystallographic studies of archaeological artefacts

III Analogies between crystal structures and art works

IV Crystallographic “frustrations”

www.neel.cnrs.fr

A.V. Shubnikov, V.A. Kopstik. ‘Symmetry in Science and Art’, 1974.

I. Hargittai,M. Hargittai ‘Symmetry: a Unifying Concept’, 1996

C. Dézarnaud Dandine, A. Sevin. ‘Histoires de Symétries’, 2007.

Center : Andy Warhol, Rorschach paintings, 1984Andy Warhol, Rorschach paintings, 1984

“Crushing one droplet of ink in the paper fold, there comes a symmetrical spot Thus the repetition of anything is no longer anything Going fromspot. Thus the repetition of anything is no longer anything. Going from the fortuitous to the rule.” Paul Valéry, Cahiers, 1894-1914.

Part I : PLANE SYMMETRY PATTERNS

“Symmetry is the concept by which man endeavours to grasp the order and beauty of phenomena. The basis of beauty and order derives from the fact that congruent repetitive elements build up the system in an orderly way “that congruent repetitive elements build up the system in an orderly way....

H. Weyl. ‘Symmetry’, Princeton Univ. Press 1952.

Alhambra, Granada: court of the Lions

This famous palace, residence of the Moorish Emirs (1231-1492), is one ofThis famous palace, residence of the Moorish Emirs (1231 1492), is one of the masterpieces of Islamic Art: ornaments, friezes and columns.

13 out of the 17 possible 2D periodic symmetry groups are realized in the13 out of the 17 possible 2D periodic symmetry groups are realized in the Alhambra.

Mural mosaic in the Alhambra, 16th century (Granada). y ( )

- Workshop ‘Geometric Patterns in Islamic Art’, Lorentz Center Leiden 2006.

J M Castéra E Makovicky T Matsumoto J Benatia MathCryst Satellite- J-M. Castéra, E. Makovicky, T. Matsumoto, J. Benatia. MathCryst Satellite Meeting ‘The Enchanting Crystallography of Moroccan ornaments’, ECM 2007.

Image courtesy of J-M. Castéra. www.castera.netMathCryst Satellite Meeting ‘The Enchanting Crystallography of Moroccan ornaments’, ECM 2007.

Mihrab اب) أل pl يب ا )- Mihrab ألمحراب) pl. محاريب)- Decorations inside the Blue Mosque of Istanbul- A Moorish zillij (tile pattern) from the Alhambra, 16th century

A bi lli h- Arabic calligraphy- Zillij patterns, including a taqshir calligraphic border, 1325.

J. Bourgoin. ‘Arabic Geometrical Pattern and Design’, 1973.J-M. Castéra. ‘Arabesques: Art décoratif au Maroc’, 1996.

Kharraqan tomb towers, Iran, 1093 A.D.

W K Ch b hi ‘I th T f B b l b d t i I l iW.K. Chorbachi. ‘In the Tower of Babel: beyond symmetry in Islamic design’. Computers Math. Applic., 1989.

E. Makovicky. ‘Islamic Ornaments : Fundamental language of Symmetry’, MathCryst Satellite Workshop of ECM 2007.

J. Piaget: “A whole is not the same as a simple juxtaposition of previously il bl l t ” St t li P i 1968available elements”. Structuralism, Paris 1968.

W.K. Chorbachi. Computers Math. Applic., 1989.

p4g : square lattice, and 1/8 of a square fundamental region of the t l ti i f d t l i f th ttranslation group is a fundamental region for the symmetry group.

W.K. Chorbachi. Computers Math. Applic., 1989.

The requirement of a complete covering of the plane/space without gaps and overlaps leads to the magic numbers: 1, 2, 3, 4 and 6.

Due to this restriction, the number of different point groups is reduced :- 2D: from ∞ to 10

3D: from ∞ to 32- 3D: from ∞ to 32

There exist:32 i t- 32 point groups

- 230 space groups- ca. 600,000 determined crystal structures - 85% are described by 6 space groups in 3D (3 in 2D)- ca. 8,000,000 chemical compounds

the number of possible symmetries is small, the number of atomic motifs is nearly unlimited.

“The geometric rules simultaneously restrict and liberate the maker of tessellations The (crystallographic rules) restrictions bring order andtessellations. The (crystallographic rules) restrictions bring order and comprehension to a subject which defied and yet tantalised the artist; with comprehension comes the liberation of the imagination and the artistic skills to create tilings which appear impossibly complex”artistic skills to create tilings which appear impossibly complex .

D. Schattschneider. ‘Visions of Symmetry, Note Books, Periodic D i d l t d W k f M C E h ’ 1990Drawings and related Works of M.C. Escher’, 1990.

S. J. Abbas, A.S. Salman. ‘Symmetries of Islamic Geometrical Patterns’, 1995.B. Grunbaum, Z. Grunbaum, G. C. Shephard. ‘Symmetry in Moorish and Other Ornaments’. Comp. and Maths. with Appli. 1986

“Our pleasure in pattern in symmetry in order and its judiciousOur pleasure in pattern, in symmetry, in order and its judicious breaking, provides gratification and reward, in relation with our system of perception, (re)cognition and creation”.

M. Kemp. ‘Visualizations: the nature book of Art and Science’, 2000.

Geometric patterns (abstract ornamentations)f ( f)The fundamental region (the motif) is a geometric shape such as a polygon,

displayed over an inactive background.

Figurative patterns (“zoomorphic”)The fundamental region is a living form (plant, animal)

Crystallographic patterns(crystal isomorphism)constructed according to the principles of crystal formation i e by closeconstructed according to the principles of crystal formation, i.e. by close packing. The inner organisation recalls that of a crystal:space group, commensurable translations, motif.

Figurative crystallographic patterns“To fit together congruent shapes I attempted to give forms of

i l It i t l b bi ti it l i tanimals.... It remains an extremely absorbing activity, a real mania to which I have become addicted.... The silhouettes of birds and fish are the most gratifying shapes of all for use in the game of dividing the plane”.

J L L h t l ‘M C E h hi lif d l t hi k’J.L. Locher et al. ‘M.C. Escher: his life and complete graphic work’, 1982.D. Schattschneider. ‘Visions of Symmetry, Note Books, Periodic Drawings and related Works of M.C. Escher’, 1990.M.C. Escher IUCr Cambridge 1960.

M. Emmer. Frames from the movie « M.C. Escher : Symmetry and Space ». © Film 7, Roma.p ,

Coxeter, H.M.S., Emmer, M., Penrose, R., and Teuber, M.L., M.C. Escher: Art and Science North Holland 1986Art and Science, North Holland 1986.

H.S.M. Coxeter. Int. Congress on M.C. Escher, Rome, 1985.

H.S.M. Coxeter. ‘Introduction to geometry’, 1969.C. Klein. Mineral Science 2002.

pmm cmm pmgp2 p4g pgg

© David A Reid, Acadia University, Canada http://plato.acadiau.ca/courses/educ/reid/Geometry/brick/

““and the reason that makes proportion please the Mind, is, that it saves it trouble, that it gives it ease, and that, so to speak, it cuts the work into halves.... every where that symmetry is useful to the soul, and can assist its functions, it is agreeable to it; but wherever it is useless to it, it is insipid because it takes away variety”.y y

Montesquieu ‘Of the Pleasures of Symmetry’ from an Essay upon Taste in subjects of Nature and of Art 1728Taste, in subjects of Nature and of Art, 1728.

Part II : CRYSTALLOGRAPHY and ARCHAEOLOGY

Ornaments from Mezin (23000 B.C., Ukraine) S.V. Jablan. ‘Theory of Symmetry and Ornament’, Belgrade, 1996.

See also http://members.tripod.com/~modularity/

1 2

1. Palaeolithic Oldowan (Homo Abilis 2.5 M-yrs) 2. Acheulean times (Homo Erectus, 1.5M-yrs)3 Middle Palaeolithic (Levallois technique 200k-yrs)3. Middle Palaeolithic (Levallois technique, 200k-yrs)4. Upper Palaeolithic (Homo Sapiens Sapiens, 35k-yrs)

the earliest evidence of hominid technology ( in the form of stone artifacts) with inherent symmetrical patterning

N. Toth. Symmetry: Culture and Science, The prehistoric roots of a human concept of symmetry. 1990.

Statistical symmetry analysis in Anthropology & Archaeology : the frequency of occurrence (or extinction) of different basic symmetry patterns may be characteristic of a cultural community (CP = distinctive sign)

Crystallographic pattern analysis = a cross-cultural classification tool of artifacts in very diverse contexts (styles and cultures), and on very different media : textiles pottery basketry wall decorationdifferent media : textiles, pottery, basketry, wall decoration,...

identify cultural groups, know-how and drawing techniques, expertise in abstract designexpertise in abstract design examine relations between different sites/periods/groups.

- D.K. Washburn. ‘Perceptual Anthropology: the Cultural Salience of Symmetry’. American Anthropologist, 1977.- B. Zaslov et al. ‘Pattern mathematics and archaeology’, Anthropolog. Res. 1977 - E. Makovicky, P. Fenoll Hach-Ali. ‘Symmetry, structural analysis and y y y yclassification of 1-2D ornaments’. Boletín Soc. Española de Mineralogía,1997.

P J C b ll ‘Th t f d ti hi t i P bl ttP.J. Campbell. ‘The geometry of decoration on prehistoric Pueblo potteryfrom Starkweather ruin’. Computers Math. Applic., 1989.

© Collections of the Logan Museum of Anthropology, Wisconsin, USA.

Traditionally patterned Javanese Batik cloths A. Haake, H. Winotosastro Comp. Math. Applic. 1989 Image courtesy of A. Haake. g y

S h ti t ti f th t t di i l ttSchematic representations of the seventeen two-dimensional patterns. G. Pólya, Z. Krist. 1924D. Schattschneider. The plane symmetry group: their recognition and p y y g p g

notation. Am. Math. Monthly 1978.S. Jablan. Theory of Symmetry and Ornament. Belgrade, 1996.

D. W. Crowe. Symmetries of Culture www.mi.sanu.ac.yu/vismath/crowe1/

Fl h t f d t i i th t f f th 17 2 di i l ttFlow chart for determining the type of any of the 17 2-dimensional patterns

D. K. Washburn and D. W. Crowe. ‘Symmetries of Culture: Theory and y yPractice of Plane Pattern Analysis’, 1988.

1 : cmm (diamond cell) 3 : pgg (un-stretched square)

--------

2 2 ( bli ) 4 4 ( t d ith d )2 : p2 (oblique) 4 : p4g (computed with no over-under)

--------

D W Crowe and D K Washburn ‘Geometrical Perceptual and CulturalD.W. Crowe and D.K. Washburn. Geometrical, Perceptual, and Cultural Perspectives on Figure/Ground Differences in Bakuba Pattern’.

D.W. Crowe, ‘The geometry of African art. Part 1. Bakuba art’, Journal of Geometry 1971Geometry,1971.

#4 is a computed simulation by S.V. Jablan.

Left : The 7 1D space groups with Hungarian folk patterns (I. Hargittai, G. Lengyel, J. Chem. Educ., 1984)

T i ht l ith th l th l l l 1D t tTop right : analogy with the polyethylene molecule 1D structure Bottom right : analogy with the carbon nanotube 1D structure

Sz Bérczi Computers Math Applic 1989Sz. Bérczi. Computers Math. Applic. 1989M. Hargittai. ’Symmetry, Crystallography, and Art’. International School of

Molecular and Structural Archaeology, 2006.

PART IIICrystallography : to analyse the structure and

i t t f i t bj tmicrostructure of ancient objects

Crystallographic data (phase and chemical identification, disorder and defects, grain size, texture,...) are viewed as a fingerprint of the history f th t i l ( f t i i )of the materials (provenance, manufacturing, ageing,...)

Lustres (9th c. Irak)Courtesy of M. Vendrell

(Barcelona)(Barcelona)

XVIth c. fresco St FiacreCourtesy of S. Aze ©LRMHCourtesy of S. Aze ©LRMH

Théorbe (16th c. Venitia)Courtesy of J-P. Echard

© Cité de la Musiqueq

Courtesy of G. Artioli (Padova)

1,0111 200 220 311 222 400 331 420 422

ude 1,0

111 200 220 311 222 400 331 420 422

ty

0 0

0,5

orm

alis

ed a

mpl

itu

0,0

0,5

Nor

mal

ised

inte

nsi

0,0

No

200 [ nm ]

0,0N

K=0.4 [ 1/nm ]

P Walter P Martinetto E Dooryhee et al Nature 1999P. Walter, P. Martinetto, E. Dooryhee et al. Nature 1999T. Ungár, P. Martinetto, G. Ribárik, E. Dooryhee, Ph. Walter. JAP 2002

The microstructure (size/strain: hand crushing, heating, sieving …. ) of the powderThe microstructure (size/strain: hand crushing, heating, sieving …. ) of the powdergoverns the diffraction peak profile = internal record of the history of the material modeling the diffraction line profiles of galena (PbS) in old Egyptian make-ups

The lead white PbCO3 + 2PbCO3·Pb(OH)2Coll. Ph. Walter, E. Welcomme, Applied Physics 2006

• cosmetics ( 500 yrs B.C.)• make up, face cream (Renaissance)• cream, unguent, plaster• easel painting (< XIXth c.)• industrial painting (> XIXth c.)

Venetian cerussacerussa from Antwerp (Rubens Vermeer )cerussa from Antwerp (Rubens, Vermeer…)cerussa from Spain

fine bright immaculate smooth coatingfine, bright, immaculate, smooth coating, fast drying, opaque, resistant, no browning…

Mathias GrünewaldIsenheim Altarpiecep

(1512- 1515-16)

© Colmar Museum

[001]

Patterson map Fourier-difference syntheses 1.0

0.483 0.527 0.571

y/b 0 090

0.134 0.178 0.221 0.265 0.309 0.352 0.396 0.440

[1 10]

0.0 0.0

b

-0.259 -0.216 -0.172 -0.128 -0.084 -0.041 0.003 0.047 0.090

[1-10]

lamellar structure …BAABAA…

1.0x/a

AA = rigid framework : PbCO3- PbCO3 bilayer as in macphersonite, plumbonacrite, leadhillite, susannite…B = statistically disordered Pb(OH) layerB = statistically disordered Pb(OH)2 layer(Pb2 1/6 occupancy)

Ab initio powder structure solution of "lead white" 2PbCO3·Pb(OH)2Ab initio powder structure solution of lead white 2PbCO3 Pb(OH)2 P. Martinetto, M. Anne, E. Dooryhee et al. Acta Cryst. 2002

E. Welcomme, Ph. Walter, M. MenuC2RMF, Paris,

XRD Detector

XRF Detector

Sample

ESRF ID22 : experimental set upESRF-ID22 : experimental set-up coupling XRD-XRD-XANES - X-ray micro-beam

t

Micro-XRF and micro-XRD3.8x1.4m

E. Welcomme, Ph. Walter, E. Dooryhee et al.

top

Micro-XRD3.8x1.4m

top1 2

34

bottom

top

bottom

bottom

Layer 1 : calcium carbonate preparation layer; Layer 2 : priming layer made of lead carbonates (hydrocerussite and cerussite); Layers 3 4 5 :

top bottom

made of lead carbonates (hydrocerussite and cerussite); Layers 3, 4, 5 : green copper pigments in mixture with lead tin yellow 2PbO-SnO2 and

lead carbonates; Layer 6 : organic layer, varnish.

HydrocerussiteE. Welcomme, Ph. Walter et al. C2RMF Paris Le Louvre

Quantitative Rietveld analysis2D diffraction pattern Quantitative Rietveld analysis (average composition : calcite, lead white)

2D diffraction pattern


a few crystallites of cerussite in h d ihydrocerussite




a few crystallites of

i icerussite in hydrocerussite

results depend on beam size(sampling, averaging)



200

210

220

230

240

250

260

270

30µmB

ALi

n (C

ps)

120

130

140

150

160

170

180

190

AABB

B

40

50

60

70

80

90

100

110

BA

0

10

20

30

2-Theta - Scale

6.3 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

BA

A

BA

Hydrocerussite : 52 %Hydrocerussite : 73 % Cerussite : 48 %Cerussite : 12 %

Stibnite : 15 %

Phase diffraction mapping of a Roman frescopp gE. Dooryhée et al. Appl. Phys. A 2005

pigment recognition reconstruction of the image reconstruction of the image

grazing incidence diffraction

D = 400-1000 mm

RX

xy

= 1Å, 0.1x1mm2, 40sec/image ( « single bunch » mode) , 4000 images, 10 GbID11 ESRF semi-quantitative Rietveld analysis of every diagram = f(x,y)

Scanning μ-XRDE Dooryhée et alE. Dooryhée et al. Appl. Phys. A 2005

a - Cupid’s face b - coarse Ca (plaster) + Qc - Calcite white pigmentd - Fe Haematitee - Fe Goethite (shading)f C E ti Blf - Cu Egyptian Blueg - Pb(Mg)CO3 (+ PbO)h - fluorescence PIXE mapi - diffraction mapi diffraction mapj - reconstruction

www.neel.cnrs.fr

Part III : Analogies between crystal structures and art works.Analogies between crystal structures and art works.

Left : details of Irving Geis’ model of the myoglobin, from J. Kendrew in Scientific American, 1961.,

from M. Kemp. ‘Visualizations: the nature book of Art and Science’, 2000.

e.g. see also ACA annual contest (2005) on ‘visual art depicting crystallography topics’

L. Bragg in “The souvenir book of crystal designs”, Festival of Britain, 1951.

“When in 1922 I worked out the first crystal of any complexity that had been analysed, aragonite, I remember well how excited my wife was with the pattern I showed her as a motif for a piece of embroidery ”with the pattern I showed her as a motif for a piece of embroidery....”

P.H. McClure. © Crystalline structure. Pastel, 1993. www.peterhugomcclure.com/htms/main.htm

Left : Azerbaijan/Turkish common ornament of 18th century A.D.Right : structure of Quartz

from K.S. Marmedov. ‘Crystallographic patterns’. Comp. Maths with Appli. 1986.

L ft B k i t F ll ’ d i d th U S ili t thLeft : Buckminster Fuller’s geodesic dome, the U.S. pavilion at the World's Fair, Montreal 1967

Right : C60 buckminsterfullerine or bucky ball, truncated icosahedron. One of the five Platonic solids !One of the five Platonic solids !

R. F. Curl, Jr., R. E. Smally, and H. W. Kroto, 1985.

from M K Kemp IUCr 2005 and ‘Visualisations The Nature Book of Artfrom M.K. Kemp IUCr 2005 and ‘Visualisations. The Nature Book of Art and Science’, 2000.

- P. H. McClure. © Penrose's ConundrumT b d 1988Tempera board, 1988.

- An archway in the Sultan's Lodge in the Green y gMosque, Bursa, Turkey 1424 A.D.

- Girih pattern from the Seljuk Mama Hatun Mausoleum in Tercan, Turkey 1200 A.D.Mausoleum in Tercan, Turkey 1200 A.D.

P. Lu, P. Steinhardt. ‘Decagonal and quasi-crystalline tilings in medieval Islamic architecture’ Science 2007Islamic architecture . Science 2007.

E. Makovicky. ‘800 year-old pentagonal tiling from Maragha, Iran’ in 5-fold Symmetry. Ed. I. Hargittaï 1992.

Escher’s discovery of polychromatic symmetry years before this notion appeared in the literature.

A V Shubnikov N V Belov et al ‘Coloured Symmetry’ 1964A.V. Shubnikov, N.V. Belov et al. Coloured Symmetry , 1964.MacGillavry C.H. ‘Symmetry Aspects of M.C. Escher's Periodic Drawings’.

IUCr Utrecht 1965.See reviews by R L E Schwarzenberger 1984 and M Senechal 1988See reviews by R.L.E. Schwarzenberger, 1984 and M. Senechal, 1988.

© M.C. Escher Co. B.V

L ft C bi S Di i i lith h 1952 © M C E h C B VLeft : Cubic Space Division, lithograph, 1952. © M.C. Escher Co. B.V Right : Ge crystal structure from H. P. Singh, Acta Cryst., 1968

“The scaffolding represents a crystallographic group. It is like a dead body without a soul... Only after putting back the atoms does the fascination of a crystal reappear.”of a crystal reappear.

P. Engel in M.C. Escher, Art and Science, 1986.

orthorhombic Pmm2 monoclinic Pm

Left : POVRAY reproduction of "cubic space division" by M.C.Escher, 1952. © Friedrich A. Lohmueller, 2000

Ri ht D th d t 1952 © M C E h C B VRight : Depth, woodcut, 1952. © M.C. Escher Co. B.V

Maor, Eli. To Infinity and Beyond: A Cultural History of the Infinite, 1987. , y y y ,M.C. Escher "Oneindigheidsbenaderingen" ("Approaches to Infinity"),

1959.

Stars, wood engraving, 1948. © M.C. Escher Company B.V

“ 2 universes in coexistence : the Platonic Universe of the regular solids and the biological Universe of living forms and activity, the one coldly beautiful, perfect, rigid static and eternal; the other messy opportunistic flexible dynamic andrigid, static and eternal; the other messy, opportunistic, flexible, dynamic and evolving”.

E.P. Whitehead in ‘M.C. Escher, Art and Science’, 1986.

Left : Stars, wood engraving, 1948. © M.C. Escher Company B.V Right : C Dejoie E Dooryhee P Martinetto ‘Hybrid analogues of Maya Blue’Right : C. Dejoie, E. Dooryhee, P. Martinetto. ‘Hybrid analogues of Maya Blue’

ESRF Newsletter “Art and Science”, 2006picture from E. Fois et al., J. Phys. Chem. B, 2002.

“ 2 universes in coexistence : the Platonic Universe of the regular solids and the biological Universe of living forms and activity, the one coldly beautiful, perfect, rigid static and eternal; the other messy opportunistic flexible dynamic andrigid, static and eternal; the other messy, opportunistic, flexible, dynamic and evolving”.

E.P. Whitehead in ‘M.C. Escher, Art and Science’, 1986.

Left : Development 1, woodcut, 1937. © M.C. Escher Co. B.VRight : HRTEM image of a crystal grain of hematite grown in olivineM. Gemmi,

Università di Milano

L. Glasser. “Teaching Symmetry: the use of decorations”. J. Of Chem. Education, 1967.

Part IV : CRYSTALLOGRAPHY

SYMMETRY BREAKING

Van Gogh, Still Life of Shoes, Oil on canvas 1886, © Van Gogh Museum, Amsterdam

“A horror of the words law, order, symmetry, geometry; artists prefer harmony beauty style rhythm unity although the true meaning ofharmony, beauty, style, rhythm, unity, although the true meaning of these words differs very little.

Th f th h tilit f t t d i li i th i tiThe essence of the hostility of art towards science lies in the conviction that a fully discovered law will introduce triviality into poetry”.

A.V. Shubnikov, V.A. Kopstik. Symmetry in Science and Art, 1972.

© Istvan Orosz. The Swan, etching 1996.

f M H i i ’S C ll h d A ’ I i lfrom M. Hargittai. ’Symmetry, Crystallography, and Art’. International School of Molecular and Structural Archaeology, 2006.

© P Picasso Maya with doll oil painting 1938© P. Picasso. Maya with doll, oil painting 1938.

N. Bohr : ”The strength of Art lies in its ability to remind us of the harmonies unattainable by systematic analysis”harmonies unattainable by systematic analysis .

P. Picasso, Bernal's Picasso, mural 1950. © the Wellcome Trust Medical Photographic LibraryPhotographic Library.

A. Brown in ‘J.D. Bernal: The Sage of Science’, 2005. "Both in his science and his eye for art [Bernal] had an amazing appreciation for symmetryand his eye for art, [Bernal] had an amazing appreciation for symmetry and the underlying mathematics"

Crystallography and visual arts

D i• Drawing• Garden art• Interior art• Photographyg p y• Computer art• Plastic arts• Plastic arts• Architecture

Villandry castle, France, 1536

Crystallography and performing arts

• Music• TheatreTheatre• Cinema• Dance• Dance

Crystallography and...educationeducationdiffusionlegacy

• LiteratureC lli h• Calligraphy

• Poetry• Weaving• Culinary artCulinary art

Image courtesy of E. Angelini, Politecnico di Torino, Italy

L. Glasser. “Teaching Symmetry: the use of decorations”. J. Of Chem. Education, 1967.E. Meyer. ‘Art in Crystallography’, IUCr Florence 2005.

Crystallography

Art Senses

"ars sine scientia nihil est" (J. Mignot, 14th century)

ctll hiat&ah l crystallography in art & archaeology · to show how crystallography can be...

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