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Victor Vasarely ( April 9, 1906, Hungary - March 15, 1997, Paris) - French painter, graphic artist and sculptor of Hungarian origin, the leading representative of the direction of "op-art." His paintings are in collections of major museums around the world. During the 60-70s of last century it became part of the optical images of popular culture had a profound impact on architecture, computer science, fashion, allowing to look at things in new ways.

Victor Vasarely (born 04/09/1906) - Hungarian-born painter, was interested in the mechanisms of visual perception, as well as the influence of color effects. Starting from 60th Vasarely promoted serial works of art.

The son of a farmer, was born in the Hungarian city of Pecs in 1925 and studied medicine in Budapest. Two years later, became interested in painting and began to attend a private academy. He earned a living by creating thumbnails of posters. In 1929, Vasarely moved to another private academy, where he met with Clara Shpinner. Two years later he joined her in marriage.

30s Black and white pictures

In 1930, Vasarely moved to Paris, where he opened a bureau of advertising graphics. In the early '30s, he created a black and white graphics on the sheets, playing with optical effects. Thus, black-and-white contrasts and geometric patterns, he translated into curly shapes (tiger, zebra, etc.). At the same time he worked with a shift to the negative and positive motion passed with the wavy lines of various widths. The painting "Harlequin" (1933) he portrayed the three-piece plastic on the ground, resembling a chessboard.

1947: The observation of nature as inspiration

Considering the coastal shingle, Vasarely came to discover that "pure color and pure form can accommodate the whole world." Later in his series of paintings he embodied the duality of black and white. For the so-called period of "Belle-Tie" ("Beautiful Island") (1947-1954) is characterized by elliptical shapes: some elements of Vasarely placed alternately on the front, then the background.

Further observations brought Vasarely so-called "Crystal period" (1948-1960), during which the artist was trying to give an interpretation of his work space as such. One summer it dawned that the open windows in the glare of the midday sun - if you watch them from the outside - turn into the black cubes, from the inside, they look as white squares. After that, Vasarely was his work, playing with different degrees of readability of picture compositions. He possessed them in a way that the viewer is constantly treated one way and then here.

1955: "Yellow Manifesto"

In the 50s, using the flicker, Vasarely created a contrasting picture of the colored particles and thin color bands. In addition, it has mounted glass slides in boxes in a linear, rectangular or rhombic patterns (for example, "Sonata-T", 1953). If you change the location there were new layering effects, teasing the human perception. After the exhibition, held in 1955, there was a "Yellow Manifesto" (named for the color of paper on which it was published). In his article, Vasarely examined the kinetics of the phenomenon of the planes, which appear due to the possibility of transmission of the illusion of movement: plane placement is made with the creation of visibility of their movement, thereby gaining a new dimension to painting, although it is characterized by two dimensions of nature remains unchanged. These theoretical calculations are done founder Vasarely op-art. For his series of paintings "Unites plastiques" ("Plastic units"), the artist in the late 50's created an "Alphabet Art" of various geometric shapes and colors that can be endlessly combined in the exact construction education. After that Vasarely could only send his assistants to the relevant data to those based on them could muster the artist conceived the work. On the basis of their manners of work, Vasarely art critic of the installation, giving special value to original works of art. For him, there were only so-called prototypes, based on which the work may be issued in large editions. Such replicated art Vasarely called not reproductions, and "play."

The end of the 60s: "Universal Structure"

Since the mid-60s Vasarely (1959 received French nationality) started experimenting with the structures of crystalline forms. In the geometrically abstract works dominated by lattice structure, which the artist through the situation and manipulating color such a way that gives the impression of spaciousness images: figures seem to be bent and then put forward to the front, then pushed to the rear. In "Universal design" (late 60's) Vasarely even closer to objectivity. As the titles for his paintings, he often used the names of the constellations or the mountain peaks, as well as concepts from the field of astrophysics. By this he meant to draw the foundation for his desire to put the principles he developed optical design in conjunction with a variety of scientific disciplines and to implement the possibility of a universal language.

Vasarely worked with a variety of materials and created, among other things, pictures and small works of plastic art. He was the author of the architectural design of buildings in the Vasarely Foundation Ai-en-Provence. Grand opening of this institution took place in 1976. The building consists of 16 buildings, the exterior walls are decorated with works of plastic art, painted in black and silver colors.

 

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