Known as the father (or grandfather) of Op Art, Victor Vasarely (1906–1997) experimented with optical patterns, pushing both established conventions of geometric abstraction and a determination to make his art accessible to everyone.
Victor Vasarely was born Gyözö Vásárhelyi in 1906 in Pécs, Hungary. He spent two years at medical school before deciding to become an artist, studying at the Podolini-Volkmann Academy in Budapest and then the Mühely School of Graphic Arts, run by Sándor Bortnyik in the Bauhaus tradition. In 1930 he got a job in Paris working as a poster artist and during this period his own practice pivoted towards graphic patterns and illusory effects. He partnered with Denise René, whose gallery showed Le Mouvement in 1955, in which Vasarely exhibited alongside Marcel Duchamp and Man Ray. The artist became a French citizen in 1961.
Vasarely’s training as a graphic artist, combined with the effects of texture and dimensionality he explored, forged his best-known artistic practice, a style that prioritised abstraction as a mode of representation. His Yellow Manifesto (produced to coincide with Le Mouvement) declared: “We are at the dawn of a great age.” He believed that separations between the visual arts would be broken down, and in his work he used algorithms and mathematical patterns to change the way viewers saw two-dimensional artworks, twisting perceptions around the apparent existence of space.
In 1967, the French car manufacturer Renault introduced the Recherche, Art et Industrie programme which forged connections between automobile-making and public art. Victor Vasarely was a key member of the programme and in 1972 was asked to redesign the diamond-shaped brand logo. He came up with the iconic “lozenge”, using lines to make the diamond appear to be in relief, and also encasing the shape in a yellow box. His logo was used until 1981 (and only slightly tweaked for the 1981–1992 iteration). Vasarely created more than 40 works with Renault, perhaps most notably the huge sculpture V (1976), made of enamelled sheet metal and standing at the side of the A8 and A51 motorways near Aix-en-Provence.
Not really, although the originally released UK version of Space Oddity (1969)—confusingly titled David Bowie, even though Bowie had already put out a record with that name in 1967—featured a portrait of Bowie, shot by Vernon Dewhurst, superimposed on an Op Art background inspired by Vasarely’s CTA 25 neg (1968).
Yes, he opened his first one in Gordes, a village in the south of France where he had taken regular holidays. He also opened spaces in Pécs, Budapest and New York City, and the Fondation Vasarely in Aix-en-Provence, whose design was based on hexagons and which was inaugurated in 1976 (now classified as a historic monument).
Since Vasarely’s death in 1997 there have been several court cases about who owns many of his works. Pierre Vasaerly, the artist’s grandson who runs the Fondation Vasarely, has been in dispute with Victor Vasarely’s daughter-in-law Michèle Taburno over ownership of several artworks. The FBI has also been involved.
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