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Representing physical movement

When a piece does not actually move, physical movement can be represented through a range of techniques

Frozen moments

Cockatoo: Flying, Plate 759, Eadweard Muybridge, 1887, photography, World History Archive / Alamy聽Stock Photo
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Cockatoo: Flying, Plate 759, Eadweard Muybridge, 1887, photography, World History Archive / Alamy聽Stock Photo

Eadweard Muybridge used a series of cameras to take multiple exposures of animals and people in motion. The resulting photographs capture his subjects鈥 changing positions in sharp focus and clear detail. Together they create an effective sense of movement, like a series of images from a stop-frame animation.

Skirt and bustier, Norma Kamali, c.1974, Christie's Images / Bridgeman Images
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Skirt and bustier, Norma Kamali, c.1974, Christie's Images / Bridgeman Images

This fashion photograph of a skirt and bustier by Norma Kamali (c.1974) has been taken using a fast . This freezes the shot perfectly without any blurring.

The model is shown swirling the dress and the photographer has captured the movement of the material billowing around her.

This creates a dynamic photograph. It allows the dress to fill the frame and shows it off more fully than if the model were standing still with the dress at her feet.

Skirt and bustier, Norma Kamali, c.1974, Christie's Images / Bridgeman Images
Image caption,
Skirt and bustier, Norma Kamali, c.1974, Christie's Images / Bridgeman Images
Lo茂e Fuller in the 鈥楩olies Bergere鈥, Henri De Toulouse-Lautrec, 1893, oil on cardboard, Archivart / Alamy Stock Photo
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Lo茂e Fuller in the 鈥楩olies Bergere鈥, Henri De Toulouse-Lautrec, 1893, oil on cardboard, Archivart / Alamy Stock Photo

With La Lo茂e Fuller aux Folies Berg猫re (1893), Henri De Toulouse-Lautrec has captured a vibrant, dancing scene as if it were a photograph taken with a fast shutter speed.

He has painted the dancer in an active pose, with her arms causing movement in the flowing dress. The position of her skirt suggests that the arm movement has caused it to fan out.

Although she is painted clearly, without expressive lines, Toulouse-Lautrec successfully shows that she was moving before and after this 鈥榮napshot鈥 was painted.

Lo茂e Fuller in the 鈥楩olies Bergere鈥, Henri De Toulouse-Lautrec, 1893, oil on cardboard, Archivart / Alamy Stock Photo
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Lo茂e Fuller in the 鈥楩olies Bergere鈥, Henri De Toulouse-Lautrec, 1893, oil on cardboard, Archivart / Alamy Stock Photo
Porca Miseria!, Ingo Maurer, 1994, chandelier, David Rice / Alamy Stock Photo
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Porca Miseria!, Ingo Maurer, 1994, chandelier, David Rice / Alamy Stock Photo

Porca Miseria! (Ingo Maurer, 1994) is a lamp designed to hang above the dining table in a minimalist kitchen.

It is made from broken pieces of crockery and cutlery that are fixed to a metal frame arranged around a central point.

The effect is of a frozen moment in which plates and cups break and fly apart as the result of an explosion.

Porca Miseria!, Ingo Maurer, 1994, chandelier, David Rice / Alamy Stock Photo
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Porca Miseria!, Ingo Maurer, 1994, chandelier, David Rice / Alamy Stock Photo
'Victoire' hood ornament, Ren茅 Lalique, 1928, moulded glass, Hemis / Alamy Stock Photo
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'Victoire' hood ornament, Ren茅 Lalique, 1928, moulded glass, Hemis / Alamy Stock Photo

The Victoire ornament for the bonnet of a car by Ren茅 Lalique is made from glass - a solid, static material. In spite of this, the design and shape of the ornament shows movement.

It has been made in the style, characterised by the simplified, shapes.

The design of the piece looks like the shape of a bird's wing in flight as well as echoing the movement that would be present as the hair blows back as the car moves at speed. The hood ornament would be seen as a status symbol for anyone who bought it, as speed when related to cars usually implies luxury and wealth.

'Victoire' hood ornament, Ren茅 Lalique, 1928, moulded glass, Hemis / Alamy Stock Photo
Image caption,
'Victoire' hood ornament, Ren茅 Lalique, 1928, moulded glass, Hemis / Alamy Stock Photo