Il perfectionne ses connaissances graphiques et sa maîtrise du trompe-l’œil. Vega III features an early example of one of Vasarely's most iconic visual effects, with the distinctive chequerboard pattern distorted in certain areas to create illusions of concave and convex shapes within the picture surface. En quelque sorte, Victore Vasarely a poussé plus en avant le concept du Carré blanc sur fond blanc de Kasimir Malevitch (1917), en le mettant en mouvement. Il est le plus célèbre représentant de l’Op Art. Hence, he’s referred to as a Hungarian-born French artist. It was one of a variety of styles that would influence Vasarely before he became the patriarch of Op Art, an abstract form of art featuring geometric patterns, bright colors and spatial trickery. Le Rêve de Victor Vasarely est une peinture op art. Six ans après son Musée Didactique installé dans le château féodal de Gordes, il inaugure avec sa femme le Centre architectonique d’Aix-en-Provence, qui a pour ambition de « combattre les nuisances visuelles, d’embellir l’environnement artificiel, de réaliser la Cité polychrome du bonheur ». Initially Vasarely created the actual works from his programs himself but from 1965 onwards he made use of assistants. “MY ART TRANSPOSES NATURE THUS ONE MORE TIME, THIS MOMENT RIGHT NOW, THE ONE OF PHYSICS THAT RENDERS THE WORLD PHYSICALLY COMPREHENSIBLE.” —VICTOR VASARELY (1906-1997), Victor Vasarely, Dyevat, Park West Gallery Collection. In its use of such optical trickery, Zebra is often considered one of the earliest works of Op Art. The suggestions of depth and movement generated by stretching a linear grid in this way represent a vital moment both in the development of Vasarely's style and in the story of late-20th-century art, establishing one of the key technical effects of Op Art. Like lots of Vasarely's late-1940s and early-1950s work, this piece can partly be interpreted as a celebration of nature, as the geometrical forms expressed by the lines allude to water droplets. Acrylic on canvas - Albright-Knox Art Gallery, Buffalo. In Vega (1957 – shown right) – named after the brightest star in the constellation Lyra – Vasarely paints a huge checkerboard, its regularity disturbed by the bending of the lines that make the squares. Vasarely died on March 19, 1997, in Annet-on-Marne, France. C’est à cette période que le jeune artiste découvre l’art abstrait et les constructivistes russes. This changed in 1965 when Vasarely exhibited at an exhibition called “The Responsive Eye” at New York’s Museum of Modern art, alongside other important Op Artists like Bridget Riley. In the Vega series we see some of the most advanced applications of Vasarely’s systematic approach to form and colour. Vasarely’s concepts needs to be interpreted into three-dimensions. The artist makes a grid in which he arranges geometric forms in brilliant colors in such a way that the eye perceives a fluctuating movement.”, In Vasarely’s obituary, the New York Times reported that Vasarely viewed his work as the link between the Bauhaus and a form of modern design that would spare the public “visual pollution.”, The Times noted, “He thought that art would have to combine with architecture to survive, and in later years made many studies and proposals for urban design. In attempting to use particular colors and color contrasts to express particular qualities of depth and motion, Vasarely was indebted to the Bauhaus artist Josef Albers, who had written extensively on the symbolism of colors and their innate cognitive and optical effects. From Calder's rotating mobiles to Gabo's revolving or vibrating sculptures, Kinetic Art had generally involved the literal creation of motion, with the aim of using art to depict the element of time as well as the element of space.
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