Bioptical Art provides the possibility to take some means of expression known in modern art, by introducing differentiated binocular stimuli in compositions. This result in derived styles but also extends the interpretation of controversial creations of the great artists of the nineteenth century.
The author presents a table recording the more important currents and movements in fine arts (title, main precursors and promoters), with simplified definitions based on dictionaries, to permit a rapid perusal, in order to notice general features and peculiarities that may justify their discussion in a bioptical background. They may also clarify the author`s statements on the aleatory and the inflation of ideas or on the sequence: usefulness, necessity, satiety.
The twentieth century art compositions are not only interesting by their strange character, but they are also highly ornamental. The surface of an abstract painting represents a dissonance, changing the some-times wearisome order of the interiors.
The communication with the creators of abstract art within exhibitions is limited by the insufficient means of voicing inspiration states. The table records the main artistic currents and movements, starting with the impressionism, to reveal possible applications of the bioptical means suggested in tests DR1, DR2, ..., etc. The styles of abstract art may become structure elements in the bioptical art, without giving rise to satiety eclecticism. On the contrary, unexpected transfers of the atates of artistic inspiration will become possible.