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Abstract
hrough this article I would like to underline the importance of the link between science and art at the end of 19th Century to the beginning of the 20th Century. Many discoveries and/or inventions conditioned the “conventional vision” of painting. Biological discoveries, the origin of chemistry, psychoanalysis, etc. influenced the images produced in Vienna at the beginning of the 20th century. The new Henri Bergson’s conception of time and the invention of cinema inured the Cubists painting, while the studies on the divisibility of atom, on electromagnetic theory and spectroscopy influenced the «granularity» of lighting effects contributing to “pointillist” painting. Mathematical studies on non-Euclidean geometries – Gauss, Lobacevskij, Bolay – have suggested «formal transgressions» to Russian Constructivists: painters, architects and photographers. Thus, the research on the atom carried out in Europe, then continued in the United States, led to the deconstruction of the conventional vision of art. On one hand, Blaue Reiter and Die Brücke, on the other, Abstract Expressionism. I conclude by quoting a Leonard Schlain’s sentence: «Art and physics are a strange coupling…Yet despite what appear to be irreconcilable differences, there is fundamental fea-ture that solidity connects these disciplines. Revolution-ary art and visionary physics are both investigations into the nature of reality».