The Universe through art

Belloli, J. (2001). The Universe: A Convergence of Art, Music, and Science. Pasadena, California: Armory Center for the Arts.

(Belloli, 2001)

Reading up on the examples discussed in the book will give a better understanding of how the universe is represented though artistic means. The less removed the representation of the universe, the less the association is created about its complexity. Through the artistic interpretation, the universe is celebrated through its beauty than of its intricate explanations. 

The most significant taking from this book's reading is the frequent representation of the circle throughout history in depicting the cosmos both scientifically and artistically. 

As a symbol, the circle "transcends cultures, religions, and time. Over the ages the circle has appeared as a cosmic emblem in spiritual imagery, as well as a dominant geometric form in abstract art" (Deziel, 2001, p.57). This is important given the brief's requirement in designing a 'timeless' cover. 

Heavy Circles, 1927

Artistically, the Russian painter and art theorist, Kadinsky represented this connection between the geometric form and the cosmos in his painting Heavy Circles. "The circular forms in his abstract paintings of Wassily Kandinsky were also intended as symbolic links to the cosmos" (Deziel, 2001, p.57).

'Antennae with Red and Blue Dots' c.1953

The brightly coloured circles, in various sizes and hues, resembles that of a planetary rotation when set against a dark background. "The two largest and most central circles, suggestive of the sun and moon, form an eclipse, while the surrounding circles suggest planets"  (Deziel, 2001, p.58).

'Maelstrom with Blue', 1976

Even Calder was inspired by the cosmos, stating that, "the underlying sense of form in my work has been the system of the Universe, or part thereof" (Lipman, 1976). His lifelong interest manifested in his art through shapes representing the sun, moon, planets and stars in both his mobiles and gouaches. Calder's work represents 

Robert Irwin's circular disc 'paintings' of the 1960s, made of cast acrylic, seem to hover on the wall without any visible support. The direct lighting of the spotlight blurs the physical boundaries of the discs, "suggesting an infinite expanse of light and space" (Deziel, 2001, p.58). 

Sky Garden, 1969

Robert Rauschenberg's interpretation of space is more graphic than previous examples. But unlike Calder or Kandinsky, Rauschenberg uses images of mass culture to create his compositions. 

M13, Globular Cluster in Hercules, 1999

Weingart

Russell Crotty's ink drawings of the sky onto paper is reminiscent of Wolfgang Weingart's experiments in typography. This has the potential of becoming an idea for experimentation in the book covers design. 

From these observations, it became clear that because Hawking's book is aimed towards those who are a "non-specialist reader" with no prior knowledge on scientific theories, the  cover should not realistically depict scientific imagery. For it is in part this quality that has made science intimidating in the first place.

Therefore to depict this imagery would only discourage them from picking up the book. By illustrating the cosmos through more relatable and approachable themes, it will help cater the book to a new audience and widen its appeal. 

Deziel, M. (2001). Creation Constellations and the Cosmos. In: J. Belloli, ed., The Universe: A Universe of Art, Music, and Science. Pasadena, California: Armory Center for the Arts.

Lipman, J. (1976). Calder's Universe. New York: Viking Press; Whitney Museum of American Art, p.18.