The father of the Op Art movement

Victor Vasarely (1906-1997), born in Pécs, Hungary, is widely regarded as the father of the Op Art movement, a genre that revolves around optical illusions and visual effects. His work, characterised by a fascinating interplay of geometric shapes, colours, and patterns, has left an enduring mark on modern art. Vasarely managed to create a dynamic viewing experience, continually challenging the observer’s perception. However, his journey to this innovative style was far from linear and tells a story of discovery, experimentation, and refinement.

Source: Barnebys Magazine

Early Years and Education

Victor Vasarely was born into a family that nurtured his intellectual curiosity. From an early age, he displayed a keen interest in both science and art—disciplines that would later merge in his life. He initially enrolled at the University of Budapest to study medicine, yet he soon realised that his true passion lay elsewhere. Leaving his medical studies behind, he chose to pursue art, enrolling in 1929 at the Műhely, also known as the Hungarian Bauhaus, under the tutelage of Sándor Bortnyik.

The Bauhaus philosophy, which integrated art and design with functionality and geometric precision, had a profound influence on Vasarely’s development. He was trained in the principles of colour theory, geometry, and graphic design, knowledge that would form the foundation of his later work, in which he explored the boundaries of the visual and introduced optical effects into his art.

Paris: The Development Towards Abstraction

In 1930, Vasarely moved to Paris, the city that would become his second home. He began his career as a graphic designer, working for advertising agencies where he honed his precision and technical skills. These years were crucial for his artistic growth, as they allowed him to experiment with forms, lines, and contrasts. During this period, Vasarely came to realise that visual illusions were a powerful way to simulate movement and depth on a flat surface.

His work in the 1940s and 1950s saw a gradual shift towards abstraction. Inspired by geometry and the pure, immutable laws of nature, he began creating increasingly complex canvases, suggesting movement and spatiality through simple shapes and colours. A personal anecdote recounts how Vasarely became fascinated by the patterns of pebbles on a beach and the visual allure of these natural structures. This seemingly simple pattern inspired him to experiment with geometric shapes in his art.

Technique and Approach: Crafting Illusions

Vasarely’s technique focused on maximising visual impact with minimal forms. He believed that the viewer needed to be actively engaged with the artwork, where the eye constantly moves and the brain strives to interpret the shapes and colours. His working methods are meticulously documented in works such as Victor Vasarely: A Retrospective and The Birth of Op Art. Vasarely used geometric shapes, often squares and circles, which he interwove or stretched to create a sense of depth and movement.

His use of colour was equally revolutionary. Vasarely was a master at manipulating colour contrasts, often employing complementary hues to create tension and depth within his compositions. His understanding of colour theory went beyond convention; he experimented with colour gradients and shadow tones, which made his shapes appear to vibrate and oscillate, bringing them to life.

One notable technique Vasarely frequently used was the so-called "stacked grid structure," where he employed repetitive geometric patterns that subtly changed in size and colour to create the illusion of curvature and depth. This technique is particularly evident in his work Vega-Nor, where the circles on the canvas appear to bulge and move as if they are emerging from the surface.

Major Works and Their Significance

Vasarely’s oeuvre includes many works that invite the viewer to engage in a visual interplay. Some of his most iconic pieces include:

1. Zebra (1937) - Often considered one of the first Op Art works, Zebra consists of a complex pattern of black and white stripes that suggest the form of a zebra without the use of explicit contours. Here, Vasarely plays with the boundary between figuration and abstraction, where the viewer “sees” the zebra through visual suggestion. This piece marked a pivotal step in Vasarely’s pursuit of optical illusions.

2. Vega Series - This series, including works like Vega-Nor, is among the most recognisable in Vasarely’s oeuvre. In it, he explores the distortion of geometric shapes to simulate movement and spatiality. Through the use of curved lines and subtle colour changes, the forms within the piece appear to pulsate and move, as if the canvas itself is breathing. The name "Vega" references the brightest star in the Lyra constellation, reflecting Vasarely’s fascination with cosmic forces and the universe.

3. Hexa (1968) - Hexa exemplifies Vasarely’s experiments with colour and form. In this piece, he creates a network of hexagonal patterns painted in various shades of blue and green. By employing gradations in colour, the hexagons appear three-dimensional, giving the canvas a visual depth that draws the viewer in. Hexa demonstrates how Vasarely transforms simple geometric forms into complex visual landscapes.

4. Beryll (1970) - In Beryll, Vasarely uses a grid of circles distributed across the surface in varying colours. The circles differ in size and intensity, creating an effect where they seem to spin and rotate on the canvas. This piece exemplifies Vasarely’s mastery of illusion with minimal elements, demonstrating how he could suggest movement without actual movement.

Gestalt 4 (1970) by Victor Vasarely

Vasarely’s Art in Everyday Life: Art for All

Victor Vasarely was not solely focused on creating art for museums and galleries; he sought to make art accessible to everyone. He believed in democratic art, convinced that his work should be experienced outside traditional artistic contexts. Vasarely’s vision in this regard is well documented in Victor Vasarely: The Birth of Op Art, where he expresses his belief that art should not be limited to the elite. His designs began to be applied to architecture, fashion, and graphic art.

In the 1970s, Vasarely collaborated with architects and designers to integrate his art into public spaces. His works appeared on building façades, in metro stations, and on the street. He also designed numerous posters and decorative art objects, realising his vision of an art-infused society. His design for the French Renault logo in 1972 is a prime example of how he applied his style to commercial projects, broadening the reach of his art.

Personal Life and Influence

Victor Vasarely led a life wholly devoted to art. His family supported his artistic vision, and his wife Claire played a pivotal role in his career. Their partnership was both personal and professional, and together they worked towards realising Vasarely’s artistic ideals.

A notable anecdote from his later years describes how Vasarely would spend hours studying light’s impact on geometric shapes in his studio. He was fascinated by the subtle changes different light sources could have on his work, reflecting his profound dedication to the perceptual effects of art and his desire to understand the relationship between light, colour, and form.

Legacy and Influence on Modern Art

Victor Vasarely’s work has left a lasting influence on modern art, design, and architecture. His exploration of optical illusions and visual effects not only led to the Op Art movement but also inspired generations of artists who continued his exploration of perceptual phenomena. His work has served as an inspiration for artists like Bridget Riley and Yaacov Agam, who also experimented with the possibilities of optical effects.

In museums and galleries worldwide, his works continue to captivate audiences. Vasarely’s ability to create illusions with simple shapes and colours demonstrates the power of abstraction, and his influence extends beyond the art world; it has shaped graphic design, architecture, and even popular culture.

Sources:

1. "Vasarely" by Gaston Diehl

2. "Victor Vasarely: A Retrospective" by Philippe Dagen

3. "Victor Vasarely: The Birth of Op Art"

4. "Victor Vasarely: Lines, Colours, Forms" by Magdalena Holzhey

5. "Vasarely: The Plastic Alphabet" by Marcel Joray

6. "Victor Vasarely: Art as Vision" by Werner Spies

7. "Victor Vasarely: The Architect of Light" by Pierre Vasarely