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Victor VasarelyTorony II. Ed. 5 of 175. ca. 19801980
1980
About the Item
Victor Vasarely was a French-Hungarian artist credited as the grandfather and leader of the Op Art movement. The artist created compelling illusions of spatial depth using geometric shapes and colorful graphics. Vasarely's method of painting borrowed from a range of influences, including Bauhaus design principles, Wassily Kandinsky, and Constructivism. Born Győző Vásárhelyi on April 9, 1906, in Pécs, Hungary, he briefly studied medicine, but after two years, he dedicated himself to learning academic painting. In the late 1920s, Vasarely enrolled at the Muhely Academy in Budapest, where the syllabus was primarily based on Walter Gropius's Bauhaus school in Germany. After settling in Paris in 1930, Vasarely worked in advertising agencies to support himself as a graphic artist while creating many works, considered by some to be one of the earliest examples of Op Art. The artist experimented with a style based on Surrealism and Abstract Expressionism during the 1940s before arriving at his hallmark checkerboard paintings. Op Art went on to have several practitioners, including Bridget Riley and Yaacov Agam. The artist died in Paris, France, at age 90 on March 15, 1997. His works are presently held in the collections of the Albright-Knox Art Gallery in Buffalo, the Art Institute of Chicago, the Tate Gallery in London, and the Peggy Guggenheim Collection in Venice. In 2019, a temporary exhibition of Vasarely's work, Le Partage des Formes, was displayed in the Centre Georges Pompidou in Paris.
- Creator:Victor Vasarely (1906 - 1997, French, Hungarian)
- Creation Year:1980
- Dimensions:Height: 24 in (60.96 cm)Width: 19 in (48.26 cm)Depth: 3 in (7.62 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Miami, FL
- Reference Number:1stDibs: LU1541212061182
Victor Vasarely
Widely considered the grandfather of Op art, the French-Hungarian painter Victor Vasarely (1906–97) created eye-popping geometric abstractions that play with the viewer’s perception of depth, perspective and motion. A classic example is the 1937 Zebra, which consists of undulating black and white stripes that suggest the form of the titular animal through optical trickery. The work is often credited as the earliest Op art painting.
Such illusions were more than pleasing tricks for Vasarely, who insisted that “pure form and pure color can signify the world.” He wanted to “democratize” art by producing works in large editions at reasonable prices that were understandable across national and cultural boundaries. In the 1960s, he developed an alphabet plastique, or fine art alphabet, consisting of elementary visual building blocks that could be used in endless combinations to create original compositions. By employing this universal visual vocabulary and stripping away topical references, he sought to create what he called a “Planetary Folklore.”
Embodying Vasarely’s singular belief that art should serve a social function, accessible to all, these innovations may perhaps be his greatest contribution to 20th-century art.
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