Kunstenaar victor vasarely biography
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Summary of Victor Vasarely
Victor Vasarely provided us with some of the most distinctive images and optical effects in 20th-century art. From his days as a commercial graphic designer in 1930s-40s Paris to his final decades developing and marketing what he hoped would become a new universal language for art and architectural design, Vasarely steered a unique course, combining virtuosic technical precision with a scientific awareness of optical and geometrical effects. He is best known for his grid-like paintings and sculptures of the 1960s onwards, which play with the reader's sense of visual form by creating illusory, flickering effects of depth, perspective, and motion. In making the act of looking one of their primary subjects, these works speak to a quintessentially modern concern with the difference between what we can see and what is really there.
Accomplishments
- Vasarely was perhaps the first modern artist to realize that Kinetic Art did not have to move. Instead he created an extraordinary series of paintings and sculptures which used geometrical effects to suggest motion within static forms. From illusions of oscillation and vibration to Escher-like tricks whereby apparent indentations in the picture-surface suddenly seem to protrude from it, Vasarely's pionee
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Victor Vasarely
Hungarian-French artist
The native form of this personal name is Vásárhelyi Győző. This article uses Western name order when mentioning individuals.
Victor Vasarely (French:[viktɔʁvazaʁeli]; born Győző Vásárhelyi, Hungarian:[ˈvaːʃaːrhɛjiˈɟøːzøː]; 9 April 1906[1] – 15 March 1997) was a Hungarian-French artist, who is widely accepted as a "grandfather" and leader[2] of the Op art movement.
His work titled Zebra, created in 1937, is considered by some to be one of the earliest examples of Op art.
Life and work
[edit]Vasarely was born in Pécs and grew up in Piešťany (then Pöstény) and Budapest, where, in 1925, he took up medical studies at Eötvös Loránd 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 private art school called Műhely (lit. "Workshop", in existence until 1938), then widely recognized as Budapest's center of Bauhaus studies. 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 Clai
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A modern humanist
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