VICTOR VASARELY
THE INVENTOR OF OP - ART
“The
individual will never be capable of knowing it all. Therefore, electronics will
always help us more and more to them in the contours of this vast heap of
knowledge, to locate the ones in relation to the others, and obtain an
intuition of synthesis. No artistic creation of value is any longer conceivable
without this global idea of the living world. We must therefore completely
rethink the reasons of the creative step and its effect on fellow men. We now
know that through the successive levels of the processes of complication of the
unit-particle-wave we arrive at the human phenomenon. Art can no longer have a
divine explanation, just a beautiful and very materialistic one.
Victor
Vasarely
VEGA 200 - 1968
Copyright: © 2014 Victor Vasarely Foundation
VEGA ARNY – 1972
KINETIC EXPERIENCE
With the Black & White period (1954-1960), Vasarely revives his
graphic studies, his work on linear grids and deformed waves. He also takes
interest in photography techniques and makes “photograph-isms” by
superposing two glass plates.
In 1955, the focus at the Galerie Denise René in Paris is on
kinetic art. Vasarely and other artists such as Duchamp, Man Ray, Calder,
Tinguely and Agam, exhibit their works on the theme of movement. The same year
Vasarely publishes his“Manifeste Jaune” which outlines the concept
of “kinetic plasticity". In doing so, he renews not only with
the research of constructivist pioneers, but also with Bauhaus teachings. The
movement does not adhere to the idea of “compositions” or“subjects”,
but more to idea that the viewer is in fact the one unique artist.
Optical illusions are made from the plastic unity of two shapes of
contrasting colors. Until 1960, the only colors used are black and white. When
motion transforms these plastic shapes, the dimensions of movement and space
come to life.
You may visit to find more information about Victor Vasarely to click Vasarely Foundation web page above link.
YAPOURA 1954
Copyright: © 2014 Victor Vasarely Foundation
YLLAM 1949-52
Oil on canvas 130.3 x 97.2 cm
© 2014 Artists Rights Society, New York / ADAGP,
Paris
TORKE 2, 1957
Oleo Sobre Tela
Dimensions: 63.5 × 58.4 cm
© 2014 Victor Vasarely Foundation
COMPOSITION 1956, 1956
Oil on
Canvas
Dimensions: 24
× 20 cm
© 2014 Victor Vasarely Foundation
ANADYR, 1956
Oil on
Canvas
Dimensions: 67
× 60 cm
© 2014 Victor Vasarely Foundation
“I cannot prevent myself from feeling a troubling analogy between my “visual kinetics” (plastique-cinétique) and the ensemble of the micro and macrocosm. Everything is there: Space, Time, Bodies, and Waves, the relations and the fields. My art transposes nature thus one more time, this moment right now, the one of pure physics that renders the world physically comprehensible.”
Victor Vasarely
“The end
of personal art for a sophisticated elite is near, we are heading straight
towards a global civilization, governed by Sciences and Techniques. We must
integrate visual sensibility (sensibilité
plastique) into a correct world…”
Victor
Vasarely
VEGA ARL - 1968
Copyright: © 2014 Victor Vasarely Foundation
BETHEL - 1957
Copyright: © 2014 Victor Vasarely Foundation
VONAL KSZ - 1969
Copyright: © 2014 Victor Vasarely Foundation
RE.NA II A,
1968
Oil and Acrylic on Canvas
Dimensions: 180 × 180 cm
© 2014 Victor Vasarely Foundation
NOVEGA, CA. 1980
Serigraph
Dimensions: 74.9 × 73.7 × 0.3 cm
Edition of 250
© 2014 Victor Vasarely Foundation
KOER, 1974
Acrylic on Canvas
Dimensions: 90.9 × 90.9 cm
© 2014 Victor Vasarely Foundation
HALO, 1984
Oil on Canvas
Dimensions: 62 × 62 cm
© 2014 Victor Vasarely Foundation
VICTOR VASARELY
FOUNDATION
CHEYT - M, 1970
Tempera on canvas, 271.8 × 269.9 cm; vertical axis 383 cm.
Solomon R. Guggenheim Museum
© 2014 Artists Rights Society, New York / ADAGP, Paris
KROA - SCULPTURE ANODIZED ALUMINIUM 140*140*140 – 1967
YABLA,
1956-1976
Acrylic on Canvas
Dimensions: 152
× 72 cm
© 2014 Victor Vasarely Foundation
TRIBUTE TO MALEVITCH 1954 - 61
Copyright: © 2014 Victor Vasarely Foundation
CAPELLA 4B 1965
Tempera on composition board, in two parts - overall 128.5 x
83.1 cm
The Sidney and Harriet Janis Collection
Copyright: © 2014 Artists Rights Society, New York / ADAGP, Paris
MICRON, 1984
Dimensions: 179.7 × 179.7 cm
© 2014 Victor Vasarely Foundation
“The
egocentric thought that has prevailed until today must become an expansive
thought. Art must become generous and totally diffusible, and most of all, art
must be truly contemporary and not posthumous. From now on, the new
technologies are here to diffuse art instantaneously to the masses.”
Victor
Vasarely
ATHEM
Oil on Canvas
© 2014 Victor Vasarely Foundation
VEGA BLUE - 1968
Copyright: © 2014 Victor Vasarely Foundation
ZOELD V - 1967
Copyright: © 2014 Victor Vasarely Foundation
CTA-104-E (1965)
Synthetic polymer and metallic paint on board - 79.6 x 79.5 cm
Copyright: © 2014 Artists Rights Society, New York / ADAGP, Paris
“I have faith
in the advent of a polychrome and multidimensional technological art that will
radiate as the first purely visual language void of any anecdotic or literary
references.”
Victor
Vasarely
“The art
of tomorrow will be a common collective treasure or it will not be art at all.”
Victor Vasarely
VONAL ALTO – 1969
Copyright: © 2014 Victor Vasarely Foundation
VEGA AIX
Copyright: © 2014 Victor Vasarely Foundation
ERIDAN - 1956
Copyright: © 2014 Victor Vasarely Foundation
CHEYT - PYR 1970 - 1971
Copyright: © 2014 Victor Vasarely Foundation
AGUIA - 1955
Copyright: © 2014 Victor Vasarely Foundation
PLANETARY FOLKLORE PARTICIPATIONS NO-1 GAME – 1969
ONYX 1 – 1966
Copyright: © 2014 Victor Vasarely Foundation
ONDHO 1956-60
Oil on canvas 220 x 180.4 cm
© 2014 Artists Rights Society, New York / ADAGP,
Paris
ALOM (REVE), 1966
Collage on Plywood
Dimensions: 252 × 252 cm
© 2014 Victor Vasarely Foundation
VICTOR
VASARELY
THE INVENTOR OF OP - ART
French painter of Hungarian descent (Pécs
1906 - Paris 1997)
Victor Vasarely defined one of the most
remarkable moments in the history of 20th century art. Having achieved great
fame and notoriety during his lifetime, he remains one of the pillars of
contemporary art for having lead abstract geometric painting into its
extraordinary culmination under the name of “kineticism”. His entire creation
is characterized by great coherence, from the evolution of his early graphic
art to his determination to promote a social art, available to all.
Victor Vasarely was born in Pécs, Hungary,
in 1906. In 1925, after obtaining his bachelor’s degree, he briefly undertook
medical studies at the Budapest University, which he abandoned two years later,
heeding the call of his true vocation. From this period, even though short
lived, he will forever keep a strict sense of method, objectivity, and an
unquenchable thirst for knowledge, remaining inextricably bonded to the quest
of scientific discovery.
In 1929, he enrolled at Mühely, then widely
recognized as the center of Bauhaus studies in Budapest. This school had been
created by Alexandre Bortnyik, following the principles of the Bauhaus School
of Dessau, with the mission of spreading the teachings already disseminated
throughout Germany by artists and intellectuals such as Walter Gropius,
Wasssily Kandinsky, Paul Klee, and Josef Albers. Bauhaus thought had an
enormous impact in Vasarely’s work, leaving an indelible mark in his creation
up until the end. It was during this period that he initiated himself into the
tendencies of constructivism and discovered Abstract Art. It was then that he
painted his famous “Blue Study” and
“Green Study” (1929), and at the
same time adhered to the concept of promulgating a less individualistic art, a
communal art adapted to the mutations of the modern industrial world.
Vasarely left Hungary and settled in Paris
in 1930. He began working as a creative consultant and graphic artist at the
Havas advertising agency, and at Draeger, the most renowned printer in Paris at
the time.
During this early “GRAPHIC” period (1929-1946), Vasarely laid out the esthetic
foundation of his plastic research and “the basic repertoire” of his “period of
kinetic abstraction on the spatial plane”. He exploits all the themes that were
reformulated much later: the handling of the line, textural effects,
interactions of shadow and light, and already a very particular attraction to
perspective. We find these constants in his graphic studies in two dimensions
such as The Zebras (1938), Chess Board (1935), and Girl-Flower (1934) where the shapes are
not actually outlined but suggested by deformed grills or weavings of
juxtaposed contrasts.
Between 1935 and 1947, Vasarely rediscovered
painting. During this period, which he would later refer to as “my false
routes”, influenced by the major plastic movements at the time, particularly
cubism and surrealism, Vasarely focused on the still life genre, landscapes,
and portraiture. The paintings made during this period, Self Portrait (1941), The
Blind Man (1946), although definitively figurative, show a certain
evolution towards a simplification and schematization of the object.
Then Vasarely had a true revelation: “pure
form and pure color can signify the world...”.
The vacations that the artist would spend at
Belle-Isle and at Gordes, would be of great importance:
“Belle-Isle, summer 1947. The pebbles, the
sea shells on the beach, the whirlpools, the hovering mist, the sunshine, the
sky...in the rocks, in the pieces of broken bottles, polished by the rhythmic
coming and going of the waves, I am certain to recognize the internal geometry
of nature...”
The works of the “BELLE-ISLE” period (1947-1958) marked the debut of an abstraction
watershed for Vasarely, a stroke of genius, one that would allow the
transformation of rough natural material into abstract material. It also marked
a return to nature by the utilization of the geometrical form, the oval form in
particular, which represented “the oceanic sentiment”.
Between 1948 and 1951, two new periods
appeared, taking even further the ideas already exposed in Belle-Isle. From the
“DENFERT” period (1951-1958) emerged
the curious drawings of the cracked white tiled walls of the Denfert-Rochereau
metro station in Paris. The alternation of backgrounds and forms, the enmeshing
of the sun splashed or shadow blurred walls and the spaces between these walls,
correspond to the origin of the “CRISTAL
-GORDES” period (1948-1958). In the studies from these periods, forms are
juxtaposed in beaches of contrasting colors on a flat surface. Vasarely
rediscovers the contradictory perspectives of axonometry, the power of pure
composition. The most representative work of this period is “Homage to Malevitch” (1952-1958), which
marks the turn towards kineticism. In this painting the square has been turned
on its axis and transformed into a rhombus, thus creating a visual principle
that would always remain at the center of the artist’s kinetic research. In
1954, Vasarely returns to this homage for the construction of his first
architectural integration at the University of Caracas, Venezuela, in
collaboration with architect Carlos Villanueva.
With the “BLACK & WHITE” period (1950-1965), Vasarely resumes his
graphic studies, his work on linear grills, and his undulating deformations.
Meanwhile, he explores his interest in photographic techniques creating
“photographisms” made from the superposition of two sheets of glass. The “BLACK & WHITE” period marks a fundamental moment in
Vasarely’s work, since it is in this two-colored phase where he develops and
defines all the basic elements of what would eventually be known as Op-Art, a
unique aesthetic and style that would remain forever linked to his name.
In 1955, at the Denise René Gallery in
Paris, kinetic art was flourishing. Vasarely and other artists such as Duchamp,
Herbin, Man Ray, Calder, and Tinguely exhibited their research on the theme of
movement. That same year Vasarely published his “Yellow Manifest”, enunciating the notion of “visual kinetics” (“plastique cinétique”), by
way of which he resumes the research of constructivist and Bauhaus pioneers:
movement does not rely on composition nor on a specific subject, but on the
apprehension of the act of looking, which by itself is considered as the only
creator.
The principle of optical illusion was first
explored in black and white. From a dialectic of geometrical shapes, “two
geometrical elements that fit in each other, combining, permutating”, emerged a
notion of movement and space. From 1960 on, color was added to the formula in
the “FOLKLORE PLANETAIRE” period
works, which lead to the invention of the “alphabet
plastique” (fine arts alphabet).
With the creation of a comprehensive “alphabet plastique” he brought to
concretion the idea, born at beginning of the century in the work of the first
abstract artists, of creating a universal fine arts language understood by
everyone.
This alphabet plastique is the point of departure towards a truly collective art. By
playing with its combinations and permutations, an unending number of
propositions can be achieved just by rearranging the forms or the color gamut
defined by the artist. “The arrival in plastic art of a matrix of such breadth
of scope offers a tool of universal character, completely allowing the
manifestation of personality and ethnic particularities.” In this matrix the
elements can be codified or programmed. Moreover, Vasarely incorporated the
significant contributions of new breakthrough techniques and technologies in
order to diversify and compose works ad infinitum. Thus, the basic elements
could be prefabricated using modern industrial procedures, allowing the works
to become monumental pieces integrated into architecture in general and into
our contemporary urban environment.
“The future is being laid out with the new
geometrical city, polychromatic and solar, where plastic art will be
essentially kinetic, multidimensional and communal, totally abstract and
closely related to the sciences.”
From 1964 to 1976, Vasarely became
particularly drawn to cellular structure in a series of works belonging to “Homage to the hexagon” theme, where
surfaces were subjected to ceaseless transformations, as much as in the form of
indentations as in the form of relief. Ambiguity was further accentuated by
adding the element of color variations, thus creating a “perpetual mobile of
optical illusion”. Vasarely had re-submerged himself into the optical domain he
had explored with his “BLACK &
WHITE” period. These effects can be observed in the works of the “GESTALT” period.
In 1965, he participated in the “Responsive Eye” exhibit at the New
York Museum of Modern Art, dedicated exclusively to “Optical Art”. This pictorial movement attached itself to the
concept of suggesting motion without ever actually performing it. It instituted
a new relationship between artist and spectator, where the observer cannot
remain passive, he is free to interpret the image in as many visual scenarios
ha can conceive. Received with great acclaim, the press and the public hailed
Vasarely as the inventor and creator of “Op-Art”.
Continuing his studies on movement and
perception, Vasarely returned to drawing in his “VONAL” period (1964-1970), where he rediscovered his linear work
on the theme of the zebras, the grills, and the origins of his black and white
period, this time incorporating the element of color. A new kinetic aspect was
engendered as well as a new spatial dimension through the repetition of lines
decreasing in scale as they approach the center of the painting.
From 1968 on, playing with the deformation
of the line, Vasarely defined his “universal structures”, and dove into the
immensely popular and widely known “VEGA”
period, where the swellings induced by the deformation of the elements of
composition give the illusion that the forms escape from the flat surface, thus
creating his famous spherical volumes. Through works such as “Feny” (1963), “Vega Tek” (1968), and “Vega
200” (1968), the artist attempts to evoke the unattainable universe of
galaxies, the gigantic cosmic pulsation, and the biological mutation of cells.
The elaboration of the kinetic work of
Victor Vasarely is inseparable from its social context and its urban
environment. From the 1950’s on, Vasarely insistently questioned himself about
the role of the artist in society and eagerly searched for a way to create a
social art, accessible and available to all, a medium of “multiples”, works
that could be reproduced in series as well as by the means of integrations.
“Painting is but a medium, the ultimate goal is to search, to define, to
integrate the plastic phenomenon into everyday life.”
The creation of the Vasarely Foundation in
Aix-en-Provence in 1976 marks the concretion and culmination of his ideas on
the integration of art in the city.
In March 15, 1997, he died at the age of 91,
leaving behind a plastic legacy unrivaled within the domain of abstract
geometrical kinetic art.
Michèle Vasarely
http://www.vasarely.com/site/site.htm
All the his own words in my blog news had quoted Excerpts from the “Notes Brutes” (Rough Notes) 1946-1960 from Victor Vasarely’s official web page publish by Michele Vasarely. You may visit his web page to find out more information as maniphesto, timeline of his life, books, catalogs of exhibition, latest news etc …
You may visit Victor Vasarely's latest exhibition The Rediscovery of The Painter at Museum Haus Konstruktiv news from my blog to click below link.
http://mymagicalattic.blogspot.com.tr/2014/04/victor-vasarely-rediscovery-of-painter.html