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VASARELY, Victor
VASARELY, Victor [Győző Vásárhelyi]
painter, graphic artist
(9 April, 1908, Pécs [HU] – 15 March, 1997, Annet sur Marne [Fr])
Vasarely began his painting studies at the painting school of Volkman Podolini, and later went on to study at the workshop of S. Bornyik. He settled down in Paris in 1930, where, at first he dealt with poster design. His painting career started off in 1944. In 1955 a number of his art theory writings were published, then he went on to design wall carpets, and art films. He gained his fame from 1960 and is held as the creator of the Op Art style. His style has a number of followers; he founded his own school. At the peak of his career a number of museums were opened with his works, in for instance the cities of Gordes, and Aix-en-Provence in France and in Pécs and Budapest in Hungary. Permanent exhibitions under the title of Vasarely Center may be found in both Oslo and New York. His fame is increased by a number of distinguished honors, gold medals and grand awards won at various exhibitions. He is the honorary citizen of New Orleans, Villeparisis, Pécs, Aix-en-Provence, the honorary doctor of the University of Cleveland, and the knight of the French Legion of Honor. He was able to uphold his Hungarian identity throughout his life, alongside his adopted French citizenship. References of his Hungarian origins can be found throughout the attitude of his career up until the 1950’s. His axonometric compositions appeared from 1930 to 1938 (Paros, Royda, Zilah). He considered his painting produced between 1930 and 1947 as an error. The rounded elliptical forms, which are reminiscent of the small pebbles rounded off by the ocean (1947-1954), received the labeling Belle Isle. The works compose in linear structure are the examples of the Fekete-fehér /Black-White/ (1951–1963) and the Vonal Periódus /Line Period/ (1966–1976). The variants of the Vega series are works of perspective effect either protruding from the plane or retracting back into the depth of the surface (Vega-Sakk /Vega-Chess/ 1968–1969). The primary method of his painting construction was the idea that color and form constitute equal qualities. These two constitute the plastic concord from which he developed his color-form alphabet. He realized the value of mimeographed works and denied the prerogative of the unique creation. The realization of his Colorful City concept is preserved by a number of buildings and public statues around the world. One-Man Shows:
1930 • Kovács Á. Gallery, Budapest
1933 • Ernst Múzeum, Budapest
1944, 1946, 1952 • Denise Renée Galerie, Paris
1954 • Palais des Beaux-Arts, Bruxelles
1956 • Blanche G. Stockholm • G. Der Spiegel, Cologne
1958 • Fried Gallery, New York • M. Nacional de Bellas Artes, Buenos Aires • M. de Arte Moderno, Montevideo
1959 • Kunstmuseum, Caracas
1961 • Artek G., Helsinki • World House Gallery, New York • Hannower Gallery, London
1962 • The Pace Gallery, Boston
1963 • Taft Museum, Cincinatti • Kunst Kabinet, Munich
1964 • The Pace Gallery, New York • Brook Street Gallery, London • Gemeente M., Den Hag
1966 • Galerie Denise Renée, Paris • Galerie Aktuell, Bern
1968 • Sidney Janus Gallery, New York • G. Prizmat, Cracow • G. Suvremene, Zagrab • G. Del Leone, Venice • Fészek Club, Budapest
1969 • Centre de Culture, Neuchâtel • G. R. Métras, Barcelona • Janus Pannonius Museum, Pécs (HU) • Műcsarnok, Budapest
1970 • Galerie Veranneman, Bruxelles • Permanent Museum, Gordes
1971 • Kunsthalle, Cologne • Minami G., Tokio
1973 • G. Moos, Toronto • Galerie Moser, Graz • M. d'Art Moderne de Mexico • The Goodman Gallery, Johannesburg
1974 • Minami G., Tokió • Heller Gallery, London
1975 • G. Theo, Madrid • G. Bel'Art, Stockholm
1976 • Museum, Tel Aviv • Permanent Museum, Pécs (HU) • Permanent Museum, Fondation of Aix-en-Provence
1977 • G. Nordenhake, Malmö
1978 • Vasarely Center, New York
1979 • Phoenix Art Museum, Arizona
1980 • Art et Energie, Foundation Vasarely, Aix-en-Provence • Junior Galerie, Vienna
1983 • Fine Arts Museum, Budapest • Zichy Castle, Budapest. Works in Public Places:
Hommage a Malevics (ceramic, 1954, Caracas)
mural works [with architect Ginsberg] (1958-1961, Paris)
Mural Integration (1965, Ped. College, Essen)
Entrance-grid (iron, 1966, University of Montpellier)
Para Vista, court (aluminium, varnished, burnt, 1967, University, Paris)
Facade (concrete, glass, 1968, University, Bonn)
Transparent Kinetic Wall and Door (securit glass 1970, KLM Hall, Amstelveen)
Vega, Kinetic Integration (glass, 1971, University Ruhr, Bochum)
Mural Integration (vinilin painting, 1971, Gare Maine-Montparnasse, Paris)
Facade (metal, 1971, Paris, Building Radio Luxemburg)
Glasswindow (coloured altuglas, 1972, Mexico)
Tridim-Sculpture Symbol (polichrom, metal, 1974, Neuchâtel)
Sculpture (steel, enameled, polichrom, 1975, Kruishouten)
Donan II. - mural kompozition (ceramic, 1975, Poindimié, New-Caledonia)
Facades - Building of the Vasarely Foundation (aluminium, 1975, Aix-en-Provence)
Mural Integration (Zsolnay ceramic, 1976, Building of the International Railway Alliance, Paris)
”Jelszobor” [ceramic Zsolnay, 1977, South Railway Station, Budapest and Hunyadi út, Pécs (HU)]
Facade (relief, porcelain, 1978, Studio Rosenthal, Berlin)
Facade Composition (ceramic, 1978, Theatre, Győr)
Stélé (ferroconcrete, Zsolnay ceramic, Aix-en-Provence, Vasarely Foundation)
Architectural Integration (1979, Convention Centre, Monaco)
Elongation of Walkway Canet-Plage (ceramic, 1981). Works in Public Collections:
Buenos Aires
Austria
Vienna
Royaux des Beaux-Arts, Bruxelles
Liege
São Paulo
Copenhagen
Musée d'Art Moderne, Paris
Avignon
Nantes
Saint-Étienne
Dordecht
Stedelijk, Amsterdam
Boymans, Rotterdam
Gemeente, The Hague
Jakarta
Ulster, Belfast
Rejkyavik
Jerusalem
Tel Aviv
Skopje
Art Contemporain, Montreal
Łódż
Museum of Fine Arts, Budapest
Janus Pannonius Museum, Pécs (HU)
Tate Gallery, London
Landesmuseum, Münster
Staats Galerie, Stuttgart
Museum für Kunst und Gewerbe, Hamburg
Lewerkusen, Wuppertal
Berlin
Swizzerland
Art Moderne, Bazel
Montevideo
Modern Art, New York
Guggenheim, New York, Jewisch Art, Pittsburgh
Isac Belgado, New Orleans
Dallas
Philadelphia. Books, Publications:
Lajos Kassák (cat. intro., 1967)
Plasti-Cité, Castermann, 1970
Folklor Planetaire, Munich, 1973
~ inconnu, Neuchâtel, 1977
~ (on his art periods), Paris, 1978
Plasticien, Laffont, 1979
GEA, Párizs, 1982
Színes város, Budapest, 1983
GEA, Budapest, 1986. Bibliography:
Devasne, J.: ~ (monogr.), Paris, 1952
Sík, Cs.: Vásárhelyi Győző, Budapest, 1966
Rosta, E.-Moles A., A.: (cat. intro., Műcsarnok, 1969)
Angyal, E.: ~, Pécsi Műszaki Szemle, 1968
Sík, Cs.: ~, Nagyvilág, 1969/10.
Bodri, F.: ~, Életünk, 1969/3.
Joray, M.: ~ I., Neuchâtel, 1969
Spies, W.: ~, Stuttgart, 1969
Ferrier, J. L.: Entretiens avec ~, Paris, 1969
~ - Notes brutes (előszó: Alfieri, B.), Venice, 1970
~ II., (bevezető: Joray, M.), Neuchâtel, 1970
Haulisch, L.: ~ kiállítás Budapesten, Alföld, 1970/1.
Mezei, O.: ~, Nagyvilág, 1971
Spies, W.: ~ (monogr.), Paris, 1971
Sík, Cs.: Rend és kaland - a bolygó folklórja, Budapest, 1972
Mezei, O.: ~ kiállítása a Műcsarnokban, Képzőművészeti Almanach 3., 1972
Diehl, G.: ~ (monogr.), Paris, 1972
Hallein, M.: ~, Hazan, 1973
Joray, M.: ~ III., Neuchâtel, 1974
Egri, J.: ~nél Annet-sur-Marne-ban, Művészet, 1974/8.
Thiery, Á.: ~vel Magyarországon, Kortárs, 1974/9.
Győrffy, K.: Ars Planetaris ~ írásainak magyar nyelvű fordítása, Korunk, Bucarest, 1975
Szilágyi, Gy.: A ~ birodalom, Művészet, 1976/4.
Hárs, É.: ~ Múzeum Pécsett, Jelenkor, 1976/6.
Rufi, P.: Áradna szét korunk művészete, Film, Színház, Muzsika, 1976. június 26.
Hárs, É.: ~ Múzeum Pécsett, Művészet Évkönyv, 1976
Diehl, G.: ~ (cat. Intro., 1976)
Joray, M.: ~, Neuchâtel, 1976
Hárs, É.: ~ Múzeum, Pécs, 1976
Gomringer, E.: La Cité Polichrome, München, 1977
Hahn, O.: Le musée imaginaire de ~, Duculot, 1978
Joray, M.: ~ IV., Neuchâtel, 1979
Bodri, F.: ~ képzeletbeli Múzeuma, Művészet, 1979/10.
Ferrier, J. L.: Négyszemközt ~vel, Budapest, 1982
Hárs, É.: ~ Múzeum, 1984
Hárs, É.: ~, Budapest, 1983
~ (collection. cat., 1983)
Romváry, F.: ~ (cat.,intro., MGC Gradec, Zagreb, 1988).
(Translation: Vladimir Végh)
painter, graphic artist
(9 April, 1908, Pécs [HU] – 15 March, 1997, Annet sur Marne [Fr])
Vasarely began his painting studies at the painting school of Volkman Podolini, and later went on to study at the workshop of S. Bornyik. He settled down in Paris in 1930, where, at first he dealt with poster design. His painting career started off in 1944. In 1955 a number of his art theory writings were published, then he went on to design wall carpets, and art films. He gained his fame from 1960 and is held as the creator of the Op Art style. His style has a number of followers; he founded his own school. At the peak of his career a number of museums were opened with his works, in for instance the cities of Gordes, and Aix-en-Provence in France and in Pécs and Budapest in Hungary. Permanent exhibitions under the title of Vasarely Center may be found in both Oslo and New York. His fame is increased by a number of distinguished honors, gold medals and grand awards won at various exhibitions. He is the honorary citizen of New Orleans, Villeparisis, Pécs, Aix-en-Provence, the honorary doctor of the University of Cleveland, and the knight of the French Legion of Honor. He was able to uphold his Hungarian identity throughout his life, alongside his adopted French citizenship. References of his Hungarian origins can be found throughout the attitude of his career up until the 1950’s. His axonometric compositions appeared from 1930 to 1938 (Paros, Royda, Zilah). He considered his painting produced between 1930 and 1947 as an error. The rounded elliptical forms, which are reminiscent of the small pebbles rounded off by the ocean (1947-1954), received the labeling Belle Isle. The works compose in linear structure are the examples of the Fekete-fehér /Black-White/ (1951–1963) and the Vonal Periódus /Line Period/ (1966–1976). The variants of the Vega series are works of perspective effect either protruding from the plane or retracting back into the depth of the surface (Vega-Sakk /Vega-Chess/ 1968–1969). The primary method of his painting construction was the idea that color and form constitute equal qualities. These two constitute the plastic concord from which he developed his color-form alphabet. He realized the value of mimeographed works and denied the prerogative of the unique creation. The realization of his Colorful City concept is preserved by a number of buildings and public statues around the world. One-Man Shows:
1930 • Kovács Á. Gallery, Budapest
1933 • Ernst Múzeum, Budapest
1944, 1946, 1952 • Denise Renée Galerie, Paris
1954 • Palais des Beaux-Arts, Bruxelles
1956 • Blanche G. Stockholm • G. Der Spiegel, Cologne
1958 • Fried Gallery, New York • M. Nacional de Bellas Artes, Buenos Aires • M. de Arte Moderno, Montevideo
1959 • Kunstmuseum, Caracas
1961 • Artek G., Helsinki • World House Gallery, New York • Hannower Gallery, London
1962 • The Pace Gallery, Boston
1963 • Taft Museum, Cincinatti • Kunst Kabinet, Munich
1964 • The Pace Gallery, New York • Brook Street Gallery, London • Gemeente M., Den Hag
1966 • Galerie Denise Renée, Paris • Galerie Aktuell, Bern
1968 • Sidney Janus Gallery, New York • G. Prizmat, Cracow • G. Suvremene, Zagrab • G. Del Leone, Venice • Fészek Club, Budapest
1969 • Centre de Culture, Neuchâtel • G. R. Métras, Barcelona • Janus Pannonius Museum, Pécs (HU) • Műcsarnok, Budapest
1970 • Galerie Veranneman, Bruxelles • Permanent Museum, Gordes
1971 • Kunsthalle, Cologne • Minami G., Tokio
1973 • G. Moos, Toronto • Galerie Moser, Graz • M. d'Art Moderne de Mexico • The Goodman Gallery, Johannesburg
1974 • Minami G., Tokió • Heller Gallery, London
1975 • G. Theo, Madrid • G. Bel'Art, Stockholm
1976 • Museum, Tel Aviv • Permanent Museum, Pécs (HU) • Permanent Museum, Fondation of Aix-en-Provence
1977 • G. Nordenhake, Malmö
1978 • Vasarely Center, New York
1979 • Phoenix Art Museum, Arizona
1980 • Art et Energie, Foundation Vasarely, Aix-en-Provence • Junior Galerie, Vienna
1983 • Fine Arts Museum, Budapest • Zichy Castle, Budapest. Works in Public Places:
Hommage a Malevics (ceramic, 1954, Caracas)
mural works [with architect Ginsberg] (1958-1961, Paris)
Mural Integration (1965, Ped. College, Essen)
Entrance-grid (iron, 1966, University of Montpellier)
Para Vista, court (aluminium, varnished, burnt, 1967, University, Paris)
Facade (concrete, glass, 1968, University, Bonn)
Transparent Kinetic Wall and Door (securit glass 1970, KLM Hall, Amstelveen)
Vega, Kinetic Integration (glass, 1971, University Ruhr, Bochum)
Mural Integration (vinilin painting, 1971, Gare Maine-Montparnasse, Paris)
Facade (metal, 1971, Paris, Building Radio Luxemburg)
Glasswindow (coloured altuglas, 1972, Mexico)
Tridim-Sculpture Symbol (polichrom, metal, 1974, Neuchâtel)
Sculpture (steel, enameled, polichrom, 1975, Kruishouten)
Donan II. - mural kompozition (ceramic, 1975, Poindimié, New-Caledonia)
Facades - Building of the Vasarely Foundation (aluminium, 1975, Aix-en-Provence)
Mural Integration (Zsolnay ceramic, 1976, Building of the International Railway Alliance, Paris)
”Jelszobor” [ceramic Zsolnay, 1977, South Railway Station, Budapest and Hunyadi út, Pécs (HU)]
Facade (relief, porcelain, 1978, Studio Rosenthal, Berlin)
Facade Composition (ceramic, 1978, Theatre, Győr)
Stélé (ferroconcrete, Zsolnay ceramic, Aix-en-Provence, Vasarely Foundation)
Architectural Integration (1979, Convention Centre, Monaco)
Elongation of Walkway Canet-Plage (ceramic, 1981). Works in Public Collections:
Buenos Aires
Austria
Vienna
Royaux des Beaux-Arts, Bruxelles
Liege
São Paulo
Copenhagen
Musée d'Art Moderne, Paris
Avignon
Nantes
Saint-Étienne
Dordecht
Stedelijk, Amsterdam
Boymans, Rotterdam
Gemeente, The Hague
Jakarta
Ulster, Belfast
Rejkyavik
Jerusalem
Tel Aviv
Skopje
Art Contemporain, Montreal
Łódż
Museum of Fine Arts, Budapest
Janus Pannonius Museum, Pécs (HU)
Tate Gallery, London
Landesmuseum, Münster
Staats Galerie, Stuttgart
Museum für Kunst und Gewerbe, Hamburg
Lewerkusen, Wuppertal
Berlin
Swizzerland
Art Moderne, Bazel
Montevideo
Modern Art, New York
Guggenheim, New York, Jewisch Art, Pittsburgh
Isac Belgado, New Orleans
Dallas
Philadelphia. Books, Publications:
Lajos Kassák (cat. intro., 1967)
Plasti-Cité, Castermann, 1970
Folklor Planetaire, Munich, 1973
~ inconnu, Neuchâtel, 1977
~ (on his art periods), Paris, 1978
Plasticien, Laffont, 1979
GEA, Párizs, 1982
Színes város, Budapest, 1983
GEA, Budapest, 1986. Bibliography:
Devasne, J.: ~ (monogr.), Paris, 1952
Sík, Cs.: Vásárhelyi Győző, Budapest, 1966
Rosta, E.-Moles A., A.: (cat. intro., Műcsarnok, 1969)
Angyal, E.: ~, Pécsi Műszaki Szemle, 1968
Sík, Cs.: ~, Nagyvilág, 1969/10.
Bodri, F.: ~, Életünk, 1969/3.
Joray, M.: ~ I., Neuchâtel, 1969
Spies, W.: ~, Stuttgart, 1969
Ferrier, J. L.: Entretiens avec ~, Paris, 1969
~ - Notes brutes (előszó: Alfieri, B.), Venice, 1970
~ II., (bevezető: Joray, M.), Neuchâtel, 1970
Haulisch, L.: ~ kiállítás Budapesten, Alföld, 1970/1.
Mezei, O.: ~, Nagyvilág, 1971
Spies, W.: ~ (monogr.), Paris, 1971
Sík, Cs.: Rend és kaland - a bolygó folklórja, Budapest, 1972
Mezei, O.: ~ kiállítása a Műcsarnokban, Képzőművészeti Almanach 3., 1972
Diehl, G.: ~ (monogr.), Paris, 1972
Hallein, M.: ~, Hazan, 1973
Joray, M.: ~ III., Neuchâtel, 1974
Egri, J.: ~nél Annet-sur-Marne-ban, Művészet, 1974/8.
Thiery, Á.: ~vel Magyarországon, Kortárs, 1974/9.
Győrffy, K.: Ars Planetaris ~ írásainak magyar nyelvű fordítása, Korunk, Bucarest, 1975
Szilágyi, Gy.: A ~ birodalom, Művészet, 1976/4.
Hárs, É.: ~ Múzeum Pécsett, Jelenkor, 1976/6.
Rufi, P.: Áradna szét korunk művészete, Film, Színház, Muzsika, 1976. június 26.
Hárs, É.: ~ Múzeum Pécsett, Művészet Évkönyv, 1976
Diehl, G.: ~ (cat. Intro., 1976)
Joray, M.: ~, Neuchâtel, 1976
Hárs, É.: ~ Múzeum, Pécs, 1976
Gomringer, E.: La Cité Polichrome, München, 1977
Hahn, O.: Le musée imaginaire de ~, Duculot, 1978
Joray, M.: ~ IV., Neuchâtel, 1979
Bodri, F.: ~ képzeletbeli Múzeuma, Művészet, 1979/10.
Ferrier, J. L.: Négyszemközt ~vel, Budapest, 1982
Hárs, É.: ~ Múzeum, 1984
Hárs, É.: ~, Budapest, 1983
~ (collection. cat., 1983)
Romváry, F.: ~ (cat.,intro., MGC Gradec, Zagreb, 1988).
(Translation: Vladimir Végh)
