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Victor Vasarely

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Victor Vasarely
Born
Vásárhelyi Győző

April 9, 1906
Pécs, Hungary
DiedMarch 15, 1997(1997-03-15) (aged 90)
Paris, France
NationalityHungarian-French
Known forpainting
Movementoptical art

Victor Vasarely (French pronunciation: [viktɔʁ vazaʁəli], Hungarian: [viktor vɒzɒrɛli]; born Vásárhelyi Győző [vaːʃaːrhɛji ɟʝøːzøː], 9 April 1906,[1] Pécs - 15 March 1997, Paris) was a Hungarian French artist whose work is generally seen aligned with Op-art. His work entitled Zebra, created by Vasarely in the 1930s, is considered by some to be one of the earliest examples of Op-art. Vasarely died in Paris in 1997.

Life and work

Vasarely was born in Pécs and grew up in Piešťany (then Pöstyén) and Budapest where in 1925 he took up medical studies at Budapest University. In 1927 he abandoned medicine to learn traditional academic painting at the private Podolini-Volkmann Academy. In 1928/1929, he enrolled at Sándor Bortnyik's műhely (lit. "workshop", in existence until 1938), then widely recognized as the center of Bauhaus studies in Budapest. Cash-strapped, the műhely could not offer all that the Bauhaus offered. Instead it concentrated on applied graphic art and typographical design.

In 1929 he painted his Blue Study and Green Study. In 1930 he married his fellow student Claire Spinner (1908–1990). Together they had two sons, Andre and Jean-Pierre. In Budapest, he worked for a ball-bearings company in accounting and designing advertising posters. Victor Vasarely became a graphics designer and a poster artist during the 1930s who combined patterns and organic images with each other.

Outdoor Vasarely artwork at the church of Pálos in Pécs

Vasarely left Hungary and settled in Paris in 1930 working as a graphic artist and as a creative consultant at the advertising agencies Havas, Draeger and Devambez (1930–1935). His interactions with other artists during this time were limited. He played with the idea of opening up an institution modeled after Sándor Bortnyik's műhely and developed some teaching material for it. Having lived mostly in cheap hotels, he settled in 1942/1944 in Saint-Céré in the Lot département. After the Second World War, he opened an atelier in Arcueil, a suburb some 10 kilometers from the center of Paris (in the Val-de-Marne département of the Île-de-France). In 1961 he finally settled in Annet-sur-Marne (in the Seine-et-Marne département).

Vasarely eventually went on to produce art and sculpture mainly focused around the area of optical illusion. Over the next three decades, Vasarely developed his style of geometric abstract art, working in various materials but using a minimal number of forms and colours:

  • 1929-1944: Early graphics: Vasarely experimented with textural effects, perspective, shadow and light. His early graphic period results in works such as Zebras (1937), Chess Board (1935), and Girl-power (1934).
  • 1944-1947: Les Fausses Routes - On the wrong track: During this period, Vasarely experimented with cubistic, futuristic, expressionistic, symbolistic and surrealistic paintings without developing a unique style. Afterwards, he said he was on the wrong track. He exhibited his works in the gallery of Denise René (1946) and the gallery René Breteau (1947). Writing the introduction to the catalogue, Jacques Prévert placed Vasarely among the surrealists. Prévert creates the term imaginoires (images + noir, black) to describe the paintings. Self Portrait (1941) and The Blind Man (1946) are associated with this period.
  • 1947-1951: Developing geometric abstract art (optical art): Finally, Vasarely found his own style. The overlapping development are named after their geographical heritage. Denfert refers to the works influenced by the white tiled walls of the Paris Denfert - Rochereau metro station. Ellipsoid pebbles and shells found during a vacation in 1947 at the Breton coast at Belle Île inspired him to the Belles-Isles works. Since 1948, Vasarely usually spent his summer months in Gordes in Provence-Alpes-Côte d'Azur. There, the cubic houses led him to the composition of the group of works labelled Gordes/Cristal. He worked on the problem of empty and filled spaces on a flat surface as well as the stereoscopic view.
Tribute to Malevitch (1954), Ciudad Universitaria de Caracas
  • 1951-1955: Kinetic images, black-white photographies: From his Gordes works he developed his kinematic images, superimposed acrylic glass panes create dynamic, moving impressions depending on the viewpoint. In the black-white period he combined the frames into a single pane by transposing photographies in two colours. Tribute to Malevitch, a ceramic wall picture of 100 m² adorns the University of Caracas, Venezuela which he co-designed in 1954 with the architect Carlos Raúl Villanueva, is a major work of this period. Kinetic art flourished and works by Vasarely, Calder, Duchamp, Man Ray, Soto, Tinguely were exhibited at the Denise René gallery under the title Le Mouvement (the motion). Vasarely published his Yellow Manifest. Building on the research of constructivist and Bauhaus pioneers, he postulated that visual kinetics (plastique cinétique) relied on the perception of the viewer who is considered the sole creator, playing with optical illusions.
  • 1955-1965: Folklore planétaire, permutations and serial art: On 2 March 1959, Vasarely patented his method of unités plastiques. Permutations of geometric forms are cut out of a coloured square and rearranged. He worked with a strictly defined palette of colours and forms (three reds, three greens, three blues, two violets, two yellows, black, white, gray; three circles, two squares, two rhomboids, two long rectangles, one triangle, two dissected circles, six ellipses) which he later enlarged and numbered. Out of this plastic alphabet, he started serial art, an endless permutation of forms and colours worked out by his assistants. (The creative process is produced by standardized tools and impersonal actors which questions the uniqueness of a work of art.) In 1963, Vasarely presented his palette to the public under the name of Folklore planetaire.
  • 1965-: Hommage à l'hexagone, Vega: The Tribute to the hexagon series consists of endless transformations of indentations and relief adding color variations, creating a perpetual mobile of optical illusion. In 1965 Vasarely was included in the Museum of Modern Art exhibition "The Responsive Eye," created under the direction of William C. Seitz. His Vega series plays with spherical swelling grids creating an optical illusion of volume. In October 1967, designer Will Burtin invited Vasarely to make a presentation to Burtin's Vision ’67 conference, held at New York University.

On 5 June 1970, Vasarely opened his first dedicated museum with over 500 works in a renaissance palace in Gordes (closed in 1996). A second major undertaking was the Foundation Vasarely in Aix-en-Provence, a museum housed in a distinct structure specially designed by Vasarely. It was inaugurated in 1976 by French president Georges Pompidou. Sadly the museum is now in a state of disrepair, several of the pieces on display have been damaged by water leaking from the ceiling. Also, in 1976 his large kinematic object Georges Pompidou was installed in the Centre Pompidou in Paris and the Vasarely Museum located at his birth place in Pécs, Hungary, was established with a large donation of works by Vasarely. In the same decade, he took a stab at industrial design with a 500-piece run of the upscale Suomi tableware by Timo Sarpaneva that Vasarely decorated for the German Rosenthal porcelain maker's Studio Linie.[2] In 1982 154 specially created serigraphs were taken into space by the cosmonaut Jean-Loup Chrétien on board the French-Soviet spacecraft Salyut 7 and later sold for the benefit of UNESCO. In 1987, the second Hungarian Vasarely museum was established in Zichy Palace in Budapest with more than 400 works.

He died in Paris on 15 March 1997.

Awards

File:FondationAix.JPG
Museum Fondation Vasarely in Aix-en-Provence

Museums

References

  1. ^ Victor Vasarely - Association Vasarely - Aix-en-Provence
  2. ^ [Anon.] (1976). "Faenza-Goldmedaille für SUOMI". Artis. 29: 8. ISSN 0004-3842. {{cite journal}}: |access-date= requires |url= (help)
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