By far, the Bezold Effect is one of the most intriguing illusions discovered. Similar to some other illusions in past, this illusion was uncovered by accident as well. The famed name behind the illusion is of Wilhelm von Bezold, a German professor of meteorology. The professor had taken up a home décor project, designing a rug for his home.

He was stumped on the colors he wanted to include in the rug and his experiments of adding and subtracting colors led him to discover the effect created by one change of color on the remaining colors in the rug design. However, people were quick to identify that the Bezold Effect wasn’t any different than the concept of simultaneous color contrast.

The Bezold Effect vs. Simultaneous Color Contrast 
The simultaneous color contrast and the Bezold Effect may sound similar, but they have one stark difference that needs to be cleared. In the simultaneous color contrast, a color takes on the hue and brightness of its surrounding colors. In the Bezold Effect, a colored region changes its color depending on the colors that encircle it. Unlike its counterpart, the Bezold Effect only works under certain circumstances. From here on, people’s fascination with the changing hue of the surrounding colors became evident.

The Mystery Surrounding the Color Change 
When simultaneous color contrast effect was discovered, scientists explained that it was due to the excitation function in the perception of color and lateral inhibition, which was related to brightness perception. 

However, scientists were never able to clarify the theory behind the Bezold Effect with some stating that it could be possible via spatial frequency dynamics that state which effect, contrast, and assimilation will occur. Even though scientists’ weren’t able to give a clear explanation as to what happens, people remained transfixed at seeing two different pictures and its effect on the surrounding colors.  

It’s 1964 and the public is occupied with dealing with the assassination of President John F. Kennedy, the on-going Civil rights movement, the invasion of the Beatles, and not far behind, the movement of optical art or op art is slowly making itself known. That year belonged to the artists who immersed themselves in creating “Pictures That Attack the Eye,” as said by Time Magazine.

If you view the picture, you’d see it move, breathe, flash, and vibrate, giving the viewer the feeling of movement. Although the Op art movement was highly publicized in 1964, Eugene Chevreul, a French Chemist, in 1839 had already discovered it and was George Seurat’s, “The Father of Op art,” inspiration who in return inspired Bridget Riley, a renowned painter. However, Op Art’s roots are rooted deep in the year of 1938.

Op Art:  The Beginning 
Victor Vasarely painted the Zebras in 1938 and created the painting using only black and white stripes. The stripes seemed to explode at you at the same time blend into the background. How did this movement find its way to the United States?

The credit goes to Bauhaus, a German school headed by Walter Groupius. He students learned to focus on the complete design to create unified artwork. However, when the school closed down, the instructors went to the United States, taking the movement along with them.

Op Art:  Arrives to the United States 
Artists felt intrigued by this form of new art and wanted to explore it further in the hopes of integrating it in society. To their relief, Op art flourished amongst the public who found the geometric designs, the use of colors, and black and white patterns interesting. The Museum of Modern Art celebrated Op art by announcing an exhibition called The Responsive Eye.

The exhibition exhibited Optical art’s perceptual aspects such as the false impression of movement and the interaction of colors. Although the critics were less than impressed by this art form often comparing it with trompe-l’oeil technique, the public relished it. Following are ways the art form tricks the eye: