Victor Vasarely - hyperviz

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Privukli su ga snažni kontrasti pozitivno-negativnog uve- }avanja, a velike je mogu}nosti vidio u korištenju crnobijelog, dane binarnog jedinstva. Kao što Morseov kod sa znakovima to~ka-linija-to~ka, ti-ta-ti ima bezbroj varijacija ili kao što današnji digitalni jezik kompjuterskoga sustava ima mogu}nosti za odašiljanje, vezanje neograni~enih poruka, tako je i Vasarely na temelju ovoga na~ela stvorio vlastiti vizualni jezik. Vasarelyjeva umjetnost je dostigla svoj vrhunac nakon 19 4. Pokazatelj toga bilo je otvaranje grupne izložbe Le Mouvement (Kretanje) u Galeriji Denise René u travnju 19 ., na kojoj su sudjelovala dva pionira kineti~ke umjetnosti Marcel Duchamp i Alexander Calder zajedno s Vasarelyjem i s mladim umjetnicima kao što su bili Jesus Rafael Sotó, Nicolas Schöffer, Jan Tinguely. Na izložbi se, tako|er, pojavio Vasarelyjev proglas pod nazivom Žuti manifest. U njemu je izrazio svoje misli u vezi s kinetizmom i plasti~nim jedinstvom te s osnovnim jezikom slike, gdje su geometrijski elementi umnoženi u permutacijske nizove. Tu je tako|er iznio mišljenje o potrebi serijskog umnožavanja i popularizacije umjetni~koga djela. 10 He was attracted to the strong contrast in positivenegative enlargements, and he saw big potentials in using blackwhite, yesno binary unity. The Morse code employs its dot-dash-dot or dit-dahdit signs to produce the infinite number of variations, just as the computer system’s digital language has a potential for transmitting and attaching the unlimited messages. Vasarely created his own visual language based on the same principle. Vasarely’s art reached its pinnacle after 19 4. This was indicated by the opening of Movement (Le Mouvement) a group exhibition held at Denise René Gallery in April 19 . The show was participated by two pioneers of kinetic art Marcel Duchamp and Alexander Calder, along with Vasarely and young artists such as Jesus Rafael Sotó, Nicolas Schöffer and Jan Tinguely. The exhibition also featured Vasarely’s Yellow Manifesto. The manifesto was an expression of his reflections on kineticism and plastic unity, as well as the basic painting language, where geometric elements are multiplied into permutation series. Manifesto brought forward his opinion on the need for serial multiplication and popularization of artwork.
TAYMIR II, 1956. akrilik na platnu / acrylic on canvas, 1350 x 1200 mm 11
Page 1: Victor Vasarely
Page 4 and 5: Izložba Victor Vasarely iz Zbirke
Page 6 and 7: ERIDAN-OS, 1956., tempera, papir /
Page 8 and 9: NAISSANCE-N, 1951., kolaž, tuš, p
Page 10 and 11: Godine 194 . u njegovu se slikarsko
Page 14 and 15: Poseban je primjer kineti~koga prav
Page 16 and 17: Crno-bijela, pozitivno-negativna rj
Page 18 and 19: Velike projekcije poja~avaju dojam
Page 21 and 22: Vasarely je volio i ~esto upotreblj
Page 23 and 24: SonoraDo (19 3.) predstavlja Vasa
Page 25 and 26: Svoja djela napravljena u posljednj
Page 27: REY-TEY, 1975. aluminijska folija,
Page 30 and 31: 8 GORDES VILLAGE, 1948., bakrorez,
Page 32 and 33: 30 GORDES TABOR, 1948., litografija
Page 34 and 35: AGUIA 2, 1955., tuš, kolaž, papir
Page 36 and 37: GUASAR-DIA-2, 1965., tempera, papir
Page 38 and 39: SO-SO, 1973., serigrafija, papir /
Page 40 and 41: DI-AM, 1973., serigrafija, papir /
Page 43 and 44: Vasarelyjev životni put Victor Vas
Page 45 and 46: 1976. U Aix-en-Provenceu sve~ano su
Page 47 and 48: 1970. Pariz, vitez Ordena Legije ~a
Page 49 and 50: VEGA BLEUE, 1968., tempera, papir /
Page 51 and 52: Nova forma umjetnosti Pe~uh, ulica
Page 53 and 54: ma svijetu oku nevidljivih }elija,
Page 55 and 56: nika postaje samo uspomenom iz pro
Page 57 and 58: Muzej Janus Pannonius, Pe~uh Ovaj n
Page 60: Galerija Kortil / Kortil Gallery Hr

Victor Vasarely - hyperviz

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