Vasarely, Victor - Abstraccionismo
Étude vert, 1929
Mixed technique on canvas
39 x 29 cm
Private collection
Arlequin, 1935
Mixed technique on canvas
59 x 39 cm
Private collection
Étude-MC, 1936
Mixed technique on canvas
61 x 56 cm
Private collection
Tigers, 1938
Oil on canvas
82 x 122 cm
Private collection
Étude de mouvement, 1939
Mixed technique on canvas
58 x 63 cm
Private collection
Zebrák, 1939
Tempera on paper
57 x 61 cm
Vasarely Museum, Budapest, Hungary
Catch, 1945
Gouache on cardboard
45 x 33 cm
Private collection
Kerloo, 1947-57
Oil on canvas
108 x 100 cm
Private collection
Nives II, 1949-58
Oil on canvas
1949 x 1143 mm
Tate Gallery, London
Zèbres, 1950
Oil on canvas
92 x 116 cm
Private collection
Yapoura, 1951
Oil on canvas
162 x 130 cm
Private collection
Basilan II, 1951-1958
Acrylic
60 cm x 65 cm
Tehran Museum of Contemporary Art, Iran
Versant, 1952
Acrylic on canvas
150 x 190 cm
Vasarely Museum, Budapest, Hungary
166 Sirs-Kek, 1953
Oil on canvas
75 x 116 cm
Renault Collection
Tlinko 22, 1955
Oil on canvas
190 x 190 cm
Renault Collection
Boglar-Bleu, 1955-65
Collage
200 x 200 cm
J.P. & M. Vasarely Collection
Belatrix, 1957
Silkscreen
Taymir, 1958-59
Oil on canvas
164,8 x 133,1 x 4,5 cm
Museum Boijmans Van Beuningen, Rotterdam, Nederland
Supernovae, 1959-61
Oil on canvas
2419 x 1524 mm
Tate Gallery, London
Untitled, 1963
Screenprint on paper
220 x 144 mm
Tate Gallery, London
Untitled, 1963
Screenprint on paper
151 x 137 mm
Tate Gallery, London
Banya, 1964
Gouache on wood
597 x 597 mm
Tate Gallery, London
E.G., 1965
Acrylic on canvas
160 x 160 cm
Sabadell Bank Collection, Spain
Quasar-Fugue, 1966-1973
Oil on Canvas
150.5 cm x 150.5 cm
Tehran Museum of Contemporary Art, Iran
Yon, 1967-1969
Tempera on hardboard
59.1 x 59.2cm
Art Gallery of New South Wales, Sydney, Australia
Reytey-va, 1967-1969
Tempera on paper on plywood
78.9 x 78.9cm
Art Gallery of New South Wales, Sydney, Australia
Vonal SSZ, 1968
Oil on canvas
Centre Georges Pompidou, Paris, France
Hazay-A, 1968
Acrylic on canvas
170 x 110 cm
Private collection
Vega-Nor, 1969
Oil on canvas
78 3/4 x 78 3/4"
Albright-Knox Art Gallery, Buffalo, New York
Cheyt Pyr, 1970/71
Oil o canvas
Gaia VY-47, 1975
Serigraph
32 3/4 x 32 3/4 in
Homok, from the portfolio 5 Serigraphies, 1977
Serigraph
25 1/2 x 25 1/2 in
8-4, from the portfolio 5 Serigraphies, 1977
Serigraph
25 1/2 x 25 1/2 in
Relat-If, 1977
Acrylic on canvas
h: 180 x w: 180 cm
Boo, 1978
Acrylic on canvas
200 x 200 cm
Private collection
Inga, 1980-88
Acrylic on canvas
260 x 130 cm
André Vasarely Collection
Hyld, 1984-1986
Acrylic on canvas
h: 200 x w: 200 cm
Dyevat, 1987
Serigraph
40 x 40 in
Untitled, 1988
Silkscreen
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No quadro "Vega-Nor, 1969", um grande globo feito de figuras geométricas multicoloridas paira sobre uma imagem bidimensional do mesmo formato. O efeito visual imediato é a ilusão do espaço e da profundidade. Vasarely foi um fundador da Arte Op, movimento que se centrava nos efeitos ilusórios de linhas e formas manipuladas. Baseou o seu método nos princípios rígidos da influente escola alemã de arte Bauhaus, mas transformou o seu uso de contornos severos e extremidades rigorosas para produzir formas anónimas, geométricas e exactas que provocam ilusões de óptica. A sua arte é ferozmente anti-nostálgica e, tal como a obra dos futuristas da década de 20, celebra e abraça activamente a era da máquina e o progresso da tecnologia. Vasarely viu sempre a sua obra como desempenhando uma função social nas comunidades locais e a sua qualidade gráfica e ilustrativa é eficaz sob a forma de murais urbanos e estruturas arquitectónicas tridimensionais. Victor Vasarely nasceu em Pécs (HUN) em 1908 e morreu em Paris (FR) em 1997.
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Victor Vasarely was born on April 9, 1906, in Pécs, Hungary. In 1927, after studying medicine at Budapest University for two years, he left school to devote himself to art. In 1929 he enrolled at Mühely, a school founded by Alexandre Bortnyik and based on the principles of the Dessau Bauhaus. It was during this time that he first came into contact with Constructivism and Abstract Art. In 1930 he left Hungary and moved to Paris, where he started work as a graphic designer. During his first graphic period (1929-1946), Vasarely laid the foundations for his future artistic practice, experimenting with themes that he would later develop. Between 1935 and 1947 the artist rediscovered painting. Influenced by Cubism and Surrealism, he focused on portraiture, landscape, and still life. His works dating from the “Belle-Isle” period (1947-1958), so named because they were inspired by a visit to Belle-Isle, marked his passage into abstraction through the use of natural materials. The “Denfert” period (1951-1958) gave rise to strange designs inspired by the walls of the Denfert-Rochereau Métro station in Paris. Works from the “Cristal-Gordes” period (1948-1958) were characterized by a juxtaposition of contrasting, brightly colored shapes, while in his work from the “Black and White” period (1950-1965), Vasarely revisited his former graphic tendencies. In 1955 he exhibited with several other representatives of the Kinetic Art movement at the Denise René Gallery in Paris and the same year published his Manifeste Jaune. In 1965 he took part in Responsive Eye, an exhibition at The Museum of Modern Art, New York, dedicated to Optical Art. He continued to explore movement and perception, and in his so-called “Vonal” period (1964–1970) he went back to drawing, combining the linear and graphic themes of his “Black and White” period with a new exploration of color. His “Vega” period began in 1968, at which time he deformed the compositional elements in order to create the optical illusion of a bloated painting surface. In 1976 he founded the Vasarely Foundation in Aix-en-Provence, affirming his belief that art should be linked to its social context and environment. The artist died in Paris on March 15, 1997.
Peggy Guggenheim Collection - Vasarely Biography
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