Victor Vasarely Axo-Pir 1976–c. 1990 Acrylic on canvas. 78 × 78 cm (30 3/4 × 30 3/4 in). Signed ‘Vasarely’ lower centre; further signed, titled and dated ‘“Axo-Pir” 1976 Vasarely’ on the reverse. The authenticity of this work has kindly been confirmed by Pierre Vasarely and will be included in the forthcoming Catalogue Raisonné de l’OEuvre peint de Victor Vasarely currently being prepared by the Fondation Vasarely, Aix-en-Provence.
Provenance Acquired directly from the artist Catalogue Essay The two present lots are exemplary examples of Victor Vasarely’s unique effect on art discourse. Schooled in the Bauhaus manner, Vasarely was a pioneer of Op art, and his geometric abstractions, precisely organised in their colour and form, extend the intrinsic role of the viewer. The patterns employed by the artist create a sense of fluctuating movement with an almost hallucinogenic effect. These perceptions, created by the positive and negative balance of space and colour, have a profound consequence – not only do they create a sense of movement in three-dimensional space, but they also allow the spectator to be the architect of the work. Vasarely’s practice of giving his viewer a functional role within his artwork has undoubtedly shaped the careers of many practicing artists today. Read More
Victor Vasarely Axo-Pir 1976–c. 1990 Acrylic on canvas. 78 × 78 cm (30 3/4 × 30 3/4 in). Signed ‘Vasarely’ lower centre; further signed, titled and dated ‘“Axo-Pir” 1976 Vasarely’ on the reverse. The authenticity of this work has kindly been confirmed by Pierre Vasarely and will be included in the forthcoming Catalogue Raisonné de l’OEuvre peint de Victor Vasarely currently being prepared by the Fondation Vasarely, Aix-en-Provence.
Provenance Acquired directly from the artist Catalogue Essay The two present lots are exemplary examples of Victor Vasarely’s unique effect on art discourse. Schooled in the Bauhaus manner, Vasarely was a pioneer of Op art, and his geometric abstractions, precisely organised in their colour and form, extend the intrinsic role of the viewer. The patterns employed by the artist create a sense of fluctuating movement with an almost hallucinogenic effect. These perceptions, created by the positive and negative balance of space and colour, have a profound consequence – not only do they create a sense of movement in three-dimensional space, but they also allow the spectator to be the architect of the work. Vasarely’s practice of giving his viewer a functional role within his artwork has undoubtedly shaped the careers of many practicing artists today. Read More
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