Victor Vasarely
Galerija Kortil Victor Vasarely
Izložba Victor Vasarely iz Zbirke Vasarely Muzeja Janus Pannonius iz Pe~uha Exhibition o artworks by Victor Vasarely rom the collection o Janus Pannonius Museum in Pécs Galerija Kortil / Kortil / Kortil Gallery Hrvatski kulturni dom na Sušaku / Croatian Cultural Centre in Sušak Strossmayerova 1, Rijeka, Hrvatska
Izdava~ / Publisher: / Publisher: Grad Rijeka, Odjel gradske uprave za kulturu / City / City o Rijeka, Department o Culture Za izdava~a / On / On behal o the publisher: publisher: Ivanka Persi}, pro~elnica / Head / Head o City Department o Culture Koncepcija izložbe, odabir radova i postav / Exhibition / Exhibition concept, artwork selection and layout: Józse Sárkány Asistent / Assistant / Assistant:: István Burján Organizacija izložbe / Organization / Organization:: Jolanda Todorovi}, Plamena [arlija Tekstovi u katalogu / Essays / Essays:: Victor Vasarely, Józse Sárkány Uvodni tekst / Introduction / Introduction:: mr. sc. Vojko Obersnel, gradona~elnik / Mayor / Mayor Fotografje / Photographs / Photographs:: István Füzi Fotografja portreta / Photography / Photography o the portrait: portrait: Pierre Vasarely Prijevod / Translation / Translation:: Nina Spicijari} (s ma|arskog / Hungarian / Hungarian),), Majda Juri} (engleski / English / English)) Lektura / Prooreading / Prooreading:: Vi{nja Vi{nji} Karkovi} Graf~ki dizajn pozivnice, plakata, kataloga / Graphic / Graphic design o invitation card, poster, catalogue: catalogue: Vesna Rožman Tisak / Print / Print:: Tiskara Zambelli , Rijeka 2009. Naklada / Copies / Copies:: 500 primjeraka
Izložba je ostvarena sredstvima Grada Rijeke i Ministarstva kulture RH Medijski pokrovitelj: Novi list d. d. Rijeka Zahvaljujemo Muzeju Janus Pannonius The exhibition was unded by the City o Rijeka and the Croatian Ministry o Culture Media sponsor: Novi list, Rijeka We extend our appreciation to Janus Pannonius Museum.
Victor Vasarely
1. 11. 009. – 1. 1. 010.
ERIDAN-OS, 1956., tempera, papir / tempera, / tempera, paper, 430 x 330 mm
Vasarely u Rijeci
Vasarely in Rijeka
Iznimno je dobar osje}aj staviti se uz bok gradovima Berlinu, Stuttgartu, Rigi, Turku, Turku, Bratislavi, Aix-en-Pro Aix-en-Provenvencu, Osijeku, Samoboru, Istambulu, Olomoucu... koji su imali ~ast i zadovoljstvo ugostiti izložbu radova Victora Vasarelyja, Vasarely ja, majstora i, po mnogima, oca Op-arta.
It eels exceptionally good to be side by side to the cities o Berlin, Stuttgart, Riga, Turku, Bratislava, Aix-enProvence, Osijek, Samobor, Istambul, Olomouc... that already had the honour and pleasure o hosting the exhibition o works by Victor Vasarely, the master and – according to many – ather o Op-Art.
Vasarely, rodom iz Pe~uha, jedan je od vode}ih umjetnika burnog i umjetni~kim avangardama prepunog 0. stolje}a. Stvorio je umjetni~ki opus koji je prepoznatljiv i prihva}en od najšire publike, upravo u duhu njegove vlastite ideje i želje za demokratizacijom umjetnosti. umjetnosti. Ljubaznoš}u Muzeja Janus Pannonius iz Pe~uha, koji ~uva Zbirku Vasarely i uspješnoj suradnji s Odjelom za kulturu Grada Rijeke, Rije~ani i brojni gosti imaju iznimnu priliku uživati u ovoj kulturno-umjetni~koj kulturno-umjetni~koj poslastici. Ovo je prilika da se Muzeju Janus Pannonius zahvalimo na spremnosti da nam ustupe vrijedna Vasarelyjeva djela i time omogu}e ovu izložbu, neposredno uo~i po~etka zna~ajne maniestacije "Pe~uh – kulturna metropola Europe 010.".
Born in Pécs, Vasarely is one o the leading artists o stormy 0th century, a period overull with art avantgardes. He has created an art oeuvre that was recognized and accepted by the general audience, in the very spirit o his own desire and wish to democratize art. By the courtesy o Regional Museum Janus Pannonius rom Pécs, that keeps Vasarely Collection and thanks to collaboration with the City o Rijeka Department o Culture, the citizens o Rijeka and numerous guests have been provided with an outstanding opportunity to enjoy this cultural-artistic delicacy. This is our chance to thank Janus Pannonius Museum or its readiness to borrow the valuable Vasarely works and thereore enable this exhibition, just beore the yearlong, "Pécs – European Capital o Culture 010".
Tako|er se zahvaljujemo Ministarstvu kulture Republike Hrvatske na nancijskoj podršci u ostvarenju ovoga We also thank the Croatian Ministry o Culture or its programa. nancial support in realising realising this program.
mr.sc. Vojko Obersnel, gradona~elnik Grada Rijeke
Vojko Obersnel, M.Sc. Mayor o Rijeka
NAISSANCE-N, 1951., kolaž, tuš, papir / collage,black / collage,black ink, paper paper,, 630 x 480 mm
Umjetnost Victora Vasarelyja
The Art of Victor Vasarely
Proesionalni životni put Victora Vasarelyja zapo~inje njegovim akademskim studijem u slobodnoj školi Podolini Volkman 19. godine, a nastavlja se poha|a“ helyu Radioninjem nastave u budimpeštanskom Mu budimpeštanskom Mu“ ( Radionica)) 198.–1930., koji je vodio Sándor Bortnyik. Ovo ca obrazovanje nije bilo slu~ajno, s obzirom na to da je Sándor Bortnyik bio najpoznatija li~nost ma|arske avangarde, u~enik i ma|arski promicatelj weimarskoga Bauhausa. Predavanja su se održavala u njegovu stanu, a nastavni je program obuhva}ao prou~avanje utjecaja u~itelja Bauhausa: Gropiusa, Van Doesburga, Lászla Moholy-Nagya, Mondriana te grupe De Stijl. Analizirali su geometrijska na~ela konstruktivizma kao i teoriju Wilhelma Ostwalda o ~etiri osnovne boje. Stvarali su suvremenu, kolektivnu umjetnost s ciljem zasnivanja nove jedinstvene umjetnosti, koja bi me|usobno povezala djelovanje obrtnika, inženjera i umjetnika.
A proessional path o Victory Vasarely starts in 19 with the academic study at Podolini Volkman ree school. From 198-1930 Vasarely attends lectures at Budapest Mu“helyi (Workshop) lead by Sándor Bortnyik. This was not an accidental educational choice, since Sándor Bortnyik was the most amous personality o Hungarian avant-garde, a student and Hungarian promoter o Bauhaus rom Weimar. Lectures were held at Bortnyik’s apartment and included studying the infuence o Bauhaus teachers: Gropius, Van Doesburg, Lászlo Moholy-Nagy, Moholy-Nagy, Mondrian and De Stijl group. The lectures also analyzed the geometrical principles o Constructivism, as well as the Wilhelm Ostwald’s theory o our colours. The aim was to create the contemporary, collective collective art that would eventually establish the new unique art, one interrelating the work o cratsmen, engineers and artists.
S takvom prakti~nom i teorijskom pripremom Vasarely je 1930. godine otputovao u Pariz, no principi i stvarala~ke metode Bauhausa još su dugo godina u njegovu stvaralaštvu ostali sakriveni. Ranih tridesetih godina držao se podalje i od pariških modernih umjetni~kih težnji, pa tako i od najsnažnijih pokreta, udruženja Abudruženja Ab straction – Creation Creation,, iako su mnogi njegovi sunarodnjaci bili njihovi ~lanovi. Zara|ivao je kreiraju}i plakate za velike reklamne agencije te piktograme i etikete za armaceutska poduze}a. Stvorio je slike, koje su u po~etku bile nadrealno-simboli~ke i dekorativne geometrijske kompozicije.
Armed with such practical and theoretical preparation, in 1930 Vasarely departed or Paris. However, the principles and creative methods o Bauhaus remained hidden in his creations or many years to come. During the early 1930’s he kept away rom Paris modern artistic aspirations, including the most powerul movements such as Abstraction-Creation, though many o his compatriots were the latter’s members. He earned his living by creating the posters or big advertising agencies, as well as pictograms and labels or pharmaceutical companies. He made paintings which, in the beginning, were surrealistic – symbolistic and decorative geometric compositions.
Godine 194. u njegovu se slikarskom radu zbio temeljiti obrat − oblici dobivaju oštre rubove, a plohe osta ju homogene i jednoli~no obojane. Ovo je razdoblje u Vasarelyjevom umjetni~kom životu bilo obilježeno željom za pronalaskom osobnog stvarala~kog jezika i karaktera. U brojnim je skicama u~vrstio svoja zapažanja, planove, od kojih su se mnogi ostvarili tek godinama kasnije. U svojim se istraživanjima koncentrirao na promatranje prirodnih oblika – npr. valovima zaobljeno kamenje s Belle Islea – te konstruktivnih elemenata izgra|ene okolice npr. "kristalne" konture zgrada rancuskoga srednjovjekovnoga srednjovjekovnoga gradi}a Gordesa ili plo~ice na zidu pariške metro-stanice Denert metro-stanice Denert .
In 194 his painting experienced a radical turn – the orms gained sharp edges, while suraces remained homogeneous and monotonously coloured. This period in Vasarely’s art lie was marked with a desire or disdis covering his own personal creative language and character. Through numerous sketches he consolidated his insights and plans, many o which came to be realized much later. His researches ocused at observing the natural orms – e.g. wave-rounded stones rom Belle Isle – and the constructive elements o built environment such as the "crystal" contours o buildings rom a medieval French town o Gordes or processed tiles rom a wall o Denert o Denert metro metro station in Paris.
Prou~avao je i opti~ko-psihološku umjetnost Josea Albersa te psihološka istraživa ist raživanja nja s kraja 19. st. − Gestalt-psihologiju koja je analizirala posebne odnose izme|u vizualnoga zapažanja i svjesnosti.
He also studied optical-psychological art by Jose Albers and psychological explorations rom the end o the 19th century, such as Gestalt psychology that analyzed special relations between visual perception and consciousnes consciousness. s.
"...Otvor je isti" – gledano izvana – izgleda kao nedo ku~iva, bestjelesna crna kocka. kocka. U bezobzirnoj vatri sunca kupaju se južnorancuski gradovi i sela otkrivaju}i preda mnom kontrastnu perspektivu. Oko ne može ja sno razlikovati sjenu od plohe zida: plohe i prazni propro stori miješaju se, oblik i pozadina izmjenjuju se. Trokut se stapa s rombom slijeva, a s trapezom trapezom zdesna, pravo kutnik ska~e ili se iznenadno spušta, ovisno o tome spaja li se s tamnozelenom mrljom ili s komadom svijetloplavoga neba. Konkretno na taj na~in postaje ap straktno i zapo~inje samosta samostalni lni život" život" – zabilježio je Vasarely 1948. godine.
".... The opening is the same – seen rom the outside and resembles an unathomable, unathomable, bodiless, black cube. Ruthless sun fre bathes b athes the South France towns and villages, revealing a contrasting perspective beore me. The eye cannot clearly discern a shadow rom a wall’s surace: suraces and empty spaces are mixed, orm and background alternate. A triangle melts with a rhomb on its let and a trapezoid on its right, a rectan gular jumps or suddenly drops, depending on whether it’s melting with a dark green stain or a patch o o light blue sky. In this manner manner,, concrete becomes abstract and independent lie starts" starts" – noted Vasarely in 1948.
191. godine u galeriji Denise galeriji Denise René na izložbi Formes izložbi Formes In 191 Denise René Gallery hosted Formes et couet couleurs murales prikazao je pod naslovom Photonaslovom Photo- leurs murales, an exhibition that presented Vasarely’s graphismes grap hismes projekcije i pove}anja velikoga ormata na- Photographismes, that included projections and en-
Naissance niz iz 191.) U pravljena tušem i olovkom ( Naissance vrijeme kada je promatrao dinamiku vibriranja koja se pojavljuje s jednim od malih crteža postavljenih jedan naspram drugoga na paus-papiru, ponovno je oživio dje~je ~u|enje prema strukturi gaze ili prema igri crtanja prstom po maglovitom prozorskom staklu. Na njegovim slikama velikih dimenzija Sophia-111 (19.) naro~ito o~aravaju}e djeluju crne linijske rešetke naslikane na bijeloj podlozi, ~iji kontrast iritira o~i. To To su bila presudna otkri}a koja su Vasarelyju dala odlu~uju}i impuls za stvaranje kineti~kih kompozicija i kompozicija Op-arta.
largements in large ormats, made by ink and pencil Naissance series rom 191). In the time when he ob( Naissance served the dynamism o vibrations, that appeared with one o the small drawings on tracing paper set acing another such drawing, he revived child’s wonder at the structure o gaze or the game o nger drawing on a oggy window. His large ormat painting titled Sophia – 111 (19) eatures particularly enchanting black line grids painted over the white surace, whose contrast irritates the eyes. These were crucial discoveries that provided Vasarely with a decisive impulse or creating kinetic and Op-art Op -art compositions.
SOPHIA-111, 1952. akrilik na platnu / acrylic / acrylic on canvas, 1320 x 2000 mm
Privukli su ga snažni kontrasti pozitivno-negativnog uve- He was attracted to the strong contrast in positive}avanja, a velike je mogu}nosti vidio u korištenju crno- negative enlargements, and he saw big potentials in black-white, yes-no binary unity. using black-white, bijelog, da-ne binarnog jedinstva. Kao što Morseov using kod sa znakovima to~ka-linija-to~ka, ti-ta-ti ima bezbroj The Morse code employs its dot-dash-dot or dit-dahvarijacija ili kao što današnji digitalni jezik kompjuter- dit signs to produce the innite number o variations, skoga sustava ima mogu}nosti za odašiljanje, vezanje just as the computer system’s digital language has a neograni~enih poruka, tako je i Vasarely na temelju potential or transmitting and attaching the unlimited messages. Vasarely created his own visual language ovoga na~ela stvorio vlastiti vizualni jezik. based on the same principle. Vasarelyjeva Vasarelyj eva umjetnost je dostigla svoj vrhunac nakon 194. Pokazatelj toga bilo je otvaranje grupne izložbe Vasarely’s art reached its pinnacle ater 194. This Le Mouo Movement (( Le Le Mouvement Mouvement (( Kretanje) Kretanje) u Galeriji Denise René u trav- was indicated by the opening o Movement vement ) a group exhibition held at Denise René Galnju 19., na kojoj su sudjelovala dva pionira kineti~ke lery in April 19. The show was participated by two umjetnosti Marcel Duchamp i Alexander Calder zajedpioneers o kinetic art Marcel Duchamp and Alexander no s Vasarelyjem i s mladim mlad im umjetnicima umjetnici ma kao što su bili Calder,, along with Vasare Calder Vasarelyly and young artists such as Jesus Raael Sotó, Nicolas Schöer, Jan Tinguely. Na Jesus Raael Sotó, Nicolas Schöer and Jan Tinguely. izložbi se, tako|er, pojavio Vasarelyjev proglas pod naThe exhibition also eatured Vasarely’s Yellow Mani Žuti mani maniest. est. U njemu je izrazio svoje misli u vezi zivom Žuti zivom esto. The maniesto was an expression o his refec plasti~nim jedinstvom s kinetizmom i te s osnovnim tions on kineticism and plastic unity, as well as the baand plastic unity, jezikom slike, gdje su geometrijski geometrijski elementi umnoženi sic painting language, where geometric elements are u permutacijske nizove. Tu je tako|er iznio mišljenje o multiplied into permutation series. Maniesto brought potrebi serijskog umnožavanja i popularizacije umjet- orward his opinion on the need or serial multiplicani~koga djela. tion and popularization o artwork.
TAYMIR II, 1956. akrilik na platnu / acrylic / acrylic on canvas, canvas, 1350 x 1200 mm
Poseban je primjer kineti~koga pravca Taymir II. (196.) , , A special instance o kinetic trend is a painting titled rom Noir et slika koja je izniman primjer iz serije Noir serije Noir et blanc (Crno Taymir II (196), an outstanding example rom Noir (Blackk and White) series. This work is a synthesis i bijelo). bijelo). Ovo je djelo sinteza toga razdoblja. U njegovoj blanc (Blac je strukturi karakter ranijih djela, vibriranje paralelnih o the entire period. Its structure retains the characlinija iz kojih se vidi iskorak prema apstraktnoj strukturi ter o earlier works, vibrating o the parallel lines that graka serije Naissance serije Naissance.. Kao novi element pojavljuje reveal a step towards the abstract structure o prints Naissance nce series. A new element appears here in rom Naissa ), rom se struktura ploha jedne na drugoj ( Aquia ( Aquia 1-2, 19. ), ( Aquia koje se lome i dijele površinu slike na ve}e ili manje a structure o planes placed one atop the other ( Aquia 1-2,, 19), breaking and dividing a painting’s surace cjeline. Unutar kompozicije pravokutnici su postavljeni 1-2 na vrhovima, trokuti me|usobno stoje u nesigurnom into bigger and smaller wholes. Within the composition, rectangles are set on apexes, and triangles are placed odnosu, a pravilno prema strukturi paralelnih linija. within an uncertain relation, yet regularly in regard to Uslijed svega toga promatra~ se nalazi pod snažnim parallel lines structures. For these reason, the observer vizualnim, opti~kim dojmom koji mu ne dopušta "mirexperiences strong visual, optical impression not allowno" promatranje djela. Prizor se nenadano mijenja iz ing him/her to "calmly" observe the artwork. The scene jednoga oblika u nedavno otkriveni element. Mijenjaju}i suddenly changes rom single orm into a recently displohe promatra~ otkriva nove odnose kompozicije. covered element. By ocusing at dierent plane, the observer discovers new compositional relations.
AGUIA 1, 1955., tuš, kolaž, papir / black / black ink, collage, paper, paper, 320 x 290 mm
Crno-bijela, pozitivno-negativna rješenja Op-arta – u From the 1960’s onwards, black-white, positive-nega~ast Maljevi~u – bila su od 1960. godine zamijenjena tive solutions in Op-art – honouring Malevich – became strukturama u boji. Proširili su se geometrijski elemen- replaced by colour structures. The geometric elements ti promjenjivih linija, ~ime su se pove}ale mogu}nosti o changeable lines prolierated, increasing the possipromjena. Vasarely Vasarely je stvaranjem toga sustava posta- bility or changes. By creating this system, Vasarely vio temelje novog pokreta i škole. Glavni je cilj vibri- set up the oundations or a new movement and raju}ih kompozicija kineti~koga razdoblja bio stvaranje school. The main aim o vibrating compositions rom opti~koga enomena kreiranjem ~etiri dimenzije uklju- the kinetic era was to enable an optic phenomenon by creating our dimensions including time i.e. move~uju}i vrijeme, odnosno pokret. Drugi zna~ajan element. The second important element in Vasarel Vasarely’s y’s artment Vasarelyjevih umjetni~kih djela bio je prostor. work was space. He endeavoured to demonstrante two Nastojao je pokazati dvije ili il i više mogu}nosti percepcior more possibilities or perceiving the mass o basic je mase osnovnog osnovnog geometrij geometrijskog skog tijela. tijela. S tim je cilje ciljem m geometric body. With this aim he used various possiiskorištavao raznolike mogu}nosti oblika i boja. Probilities o orms and colours. Vasarely achieved a spastorni eekt postizao je primjenom toplo-hladnih boja i tial eect by applying warm-cool colours and dark-light tamno-svijetloga kontrasta, koristio je višestruke mocontrast, using multiple possibilities o classical linear gu}nosti klasi~ne linijske perspektive, aksonometrij- perspective, axonometric projections or Kepler’s cube ). ( Meh-III-A, skih projekcija ili Keplerove kocke ( Meh-III-A, ( Meh-III-A, 196. ). Meh-III-A, 196). Paintings Vega-Arl Vega-Arl ((1968 1968)) and Vega 1968.)) i Vega Bleue (1968. 1968.)) prikazuju Bleue (1968) employ o colours to demonstrate the Slike Vega-Arl (1968. bogatstvo mogu}nosti uz pomo} boja. Gore G ore spomenu- richness o possibilities. Above mentioned illusions te iluzije sastavljene su od distorziranih kvadratnih po- are composed o distorted cube spheres that create lja koja stvaraju iluziju poluserne orme, a eekt je do- an illusion o semi-spherical orm, and the eect is addatno poja~an upotrebom boje. ditionally strengthened by using the colour. colour.
Velike projekcije poja~avaju dojam kojeg uzrokuje osjetilna varka perspektivne torzije. Taj se enomen javlja kada se ~etverokut transormira u mnogostruke rombove, dok dodirne linije sugeriraju dubinu, a linije krugova sugeriraju nadsvo|enu površinu ~ime se kvadrati pretvaraju u ovalne ormacije. Na rije~koj izložbi taj je doživljaj o~aravaju}om snagom prisutan na zidnim tapetama. Djela koje je izveo tkala~ki majstor Tabardove radionice daju sintezu visokoga stupnja, ~uvanu u tisu}ljetnoj tradiciji aubussonskih tapiserija* i novih umjetni~kih težnji Vasarelyj Vasarelyjevih evih kompozicija. Djela veli~ine -8 m² vladaju prostorom i zarobljuju promatra~a. Rješenja s gra~kih plo~a i malih slika temperom zaista ostavljaju dojam. Ve}ina djela govori o iluzionisti~kom prostoru. Naš pogled u dubinu neoVonal-Fegn.. S uvjerljivom snagom doljivo privla~i tunel Vonal-Fegn ispup~uje se plavo-crvena polusera kompozicije Vega-Sakk , izra|ena na temelju kontrasta toplo-hladno, svijetlo-tamno, ~iji postepeno deormiraju}i ovalni niz kre}e iz središta kruga, širi se po površini i pove}ava svoju snagu, zajedno s mnoštvom dijagonalnih rombova koji se smanjuju.
* Aubusson – gradi} u rancuskoj pokrajini Limousin, poznat po dugoj povijesti vrhunske izrade tapiserija i tepiha od 16. stolje}a.
Large projections reinorce the impression used by the sensory deception o perspectival torsion. This phenomenon arises when a quadrangle is transormed into maniold rhombs, with adjoining lines suggesting depth and circle’s lines suggesting arched surace that turns quadrangles into oval ormations. At Rijeka exhibition, this experience, in all its enchanting power, is present through the wall papers. The works made by a master weaver rom Tabard manuacture provide a synthesis o high degree, preserved by a millennial tradition o Aubusson tapestries* and new art aspirations o Vasarely compositions. compositions. The works sized -8m dominate the space and capture the observers. Solutions rom print plates and small tempera paintings are truly impressive. Most o the works speak o illusionist space. Vonal-Fegn tunnel irresistibly draws our gaze into the depth. A blueVega-Sakk composition -red semi-sphere o Vega-Sakk composition protrudes with a convincing strength. It is based on warm-cool, light-dark contrasts while gradually deorming oval range starts rom the circle’s centre, expanding over the surace and increasing its own strength, together with a multitude o diagonal and diminishing rhombs.
* Aubusson – a town in the French region o Limousin, know or the a long tradition o supreme production o tapestries and carpets, that goes back to the 16th century.
VONAL-FEGN, 1971., tapiserija, vuna / woven / woven tapestry, wool, 2520 x 2550 mm
Vasarely loved and oten used a the semi-sphere mohexagonal was characteristic o ti, though honouring though honouring hexagonal was his 190’s period. These are his words on the subject: A hexagonal is dierent than a quadrangle, the latter " A hexagonal being enclosed within its own structure, and not com plying with the laws o parallel planes. In an interesting interesting manner,, a hexagon manner hexagon gets transormed into a cube, more precisely into a perspectivally unstable Kepler’s cube. It can be divided into three rhombs o equal size. By simply colouring these these rhombs we’re looking at a cube, that’s multiplying and creating a new net o cells... In this manner the structure becomes more dynamic, yet visually more labile. Actually, this is about o placing the hypothetical perspectives one atop the other: all the elements imply their indefniteness and due to ki neticism they become intricate. We could say I have u-B created a deceitul perpetuum mobile." Odli~an primjer stvaranja mreže }elija je slika Ambig slika Ambigu-B mobile. " (190.). Ona pokazuje kako je kompozicija, u kojoj je VaAn excellent example o creating the net o cells is a sarely imao zadatak smjestiti šesterokut u prostor ~etvepainting titled Ambigu-B titled Ambigu-B (190). It demonstrated how rokutnog oblika, u~inila promatra~u prizor nestabilnim. the composition, where Vasarely’s task was to place
Vasarely je volio i ~esto upotrebljavao motiv polusere, iako je za sedamdesete bila karakteristi~na: ~ast še sterokutu.. Ovako govori o tomu: "Šesterokut sterokutu " Šesterokut je razli~it od ~etverokuta, koji je zatvoren unutar svoje strukture, i ne slijedi zakone zako ne paralelnih ploha. Na zanimljiv na~in šesterokut se pretvara u kocku, to~nije u perspektivno nestabilnu Keplerovu kocku. Može biti podijeljen na tri romba jednake veli~ine. veli~ine. Te Te rombove samo treba treba obojiti i kocka je ve} pred nama, množi se i stvara novu mrežu }elija... Na taj na~in struktura postaje dinami~nija, ali u vizualnom smislu i labilnija. Zapravo, tu je rije~ o slaga nju hipoteti~kih perspektiva jedne na drugu: svi ele menti impliciraju svoju neodre|enost, a uslijed kinetiz ma postaju zamršeni. Tako Tako bi mogli re}i, re}i, da sam stvorio zavaravaju}i perpetuum perpetuum mobile." mobile."
a hexagon within a rectangular space, rendered the scene unstable or the observer.
AMBIGU-B,1970., gvaš, tempera, papir / gouache, / gouache, tempera, paper, paper, 560 x 500 mm
SONORA-DO, 1973. akrilik, papir na šperplo~i / acrylic, paper, mounted on plywood, 1200 x 800 mm
Sonora-Do (193.) predstavlja Vasarelyjevo kasno i zrelo umjetni~ko stvaralaštvo. Rije~ je o jasno predjedinstva.. ^ista, beskostavljenom sustavu plasti~noga sustavu plasti~noga jedinstva na~na, pojednostavljena kompozicija koja ne želi ništa drugo doli prikazati jedan ~etverokut i me|usobne utjecaje boja te kružnih i romboidnih ormi unutar njega. On kona~no prekida s tisu}ljetnom mistikacijom umjetni~koga predmeta i postavlja hladnu, bezli~nu, Plasti~no jedinstvo znanstvenu tezu. O tome izjavljuje: " Plasti~no koje sam sâm uveo ima dvije vrijednosti: vrijednosti: plavi ~etvero kut u sebi originalno sadrži manji crveni ~etverokut. Istraživa~ka tehnika temelji se na utvr|enom redu petnaest pozadinskih oblika. Oni su mehani~ki izrezani iz pa pira, dvadeset jasnih boja i tamnijih nijansi druge boje: crvena, plava, zelena, ’mauve’ (ruži~asto-ljubi~asta), žuta, siva ~iji tonovi prelaze od najsvjetlijeg (br. 1) do najta mnijeg (br. 15) tona. Ti izrezani elementi mogu se po kretati, dakle, mogu se mijenjati. Tako Tako se dobiva dobiva petnaest pozadinskih oblika s 90 tonova unutar jedinica s isto tolikim brojem me|u njima, što može dati mogu}nost beskona~noga broja kombinacija. Boje, koje stvaraju plasti~no jedinstvo mogu se jednostavno kodifcirati sa slovima i brojevima, broje vima, i na taj na~in programirati što uvodi likovnu umjetnost u svijet kibernetike." kibernetike ."
Sonora-Do (193) represents Vasarely’s Vasarely’s late and mature art creation. This is a clearly presented system plastic unity . The pure, innite, simplied compoo plastic o sition attempts nothing more but to portray a single quadrangle and mutual infuences o colours, as well as the circular and rhomboid orms within it. The artist nally breaks up with the millennial tradition o mystiying the art object and postulates a cold, listless, scientic thesis. These are Vasarely’s words on the Plastic unity that I’ve introduced has two subject: " Plastic values: a blue quadrangle originally contains a smaller red quadrang quadrangle le within. within. The The research research techniq technique ue is based based on a defned order o fteen background orms. They are mechanically cut out rom the paper, twenty clear colours and darker nuances o other colours: red, blue, green, "mauve" (pink-violet), (pink-violet), yellow, yellow, grey, grey, whose tones range rom the lightest (no. 1) to the darkest (no. 15) tone. Those cut out elements can be moved and thereore transormed. This manner produces 15 back ground orms with 90 tones, within units containing an equal number in themselves, possibly resulting in an infnite number o combinations. Colours, creating plastic unity , can simply be codifed with letters and numbers and thereore get programmed, introducing visual art into the world o cybernetics." cybernetics ."
EM-CE, 1973., serigrafja, papir / serigraphy / serigraphy,, paper paper,, 760 x 620 mm
Svoja djela napravljena u posljednjem periodu nazvao je univerzalnim strukturama koje se proširuju i skuplja ju.. Mapom Bach Album nastojao je izraziti štovanje ju prema Johannu Sebastianu Bachu, jednom od najve}ih genija u povijesti glazbe. Smatram da je Vasarely primjer crpio iz Bachovih virtuoznih varijacija, tj. iz njegove sposobnosti da jednostavnu temu obradi i izvede u beskrajnim varijacijama. Držim da je glazba Vasarelyju bila najbliže umjetni~ko podru~je budu}i da ju je matemati~ki mogu}e jednako razumjeti i opisati kao i njegov vlastiti umjetni~ki sustav. Album sadrži više gra~kih listova i može se promatrati kao barokna, ola bavljena verzija zatvorenog reda ranijih strogih, centralnih ili pravokutih koordinatnih sustava (So-So, EmCe). Cilj je bio razveseliti oko i stvoriti vizualnu senzaciju. ey , što je za VasaJedna tabla mape nazvana je Rey-T je Rey-Tey relyja jedinstveni primjer davanja naslova. U ma|arskom jeziku "rejtély" zna~i "tajna" i ukazuje upravo na suštinu djela, ali je nerazumljivo promatra~u i samo po sebi tajna za onoga tko ne zna ma|arski. Naime, kretanje promatra~a utje~e na promjenu odbijanja svjetlosti koja pada na oliju srebrne boje, zbog ~ega se struktura djela neprestano mijenja, uslijed ~ega nastaju uvijek nove slike. Vasarely je promovirao demokratizaciju umjetni~koga djela i umjetnosti. Otiscima su njegova originalna djela bila multiplicirana, a tako su njegove kompozicije postale dostupne u novim varijantama. Pomno odabiru}i plo~e sastavljao je albume kojima opisuje vlastite postaje na putu apstrahiranja orme i vlastite umjetni~ke borbe s mogu}nostima skrivenima u bogatstvu motiva. Njegova umjetnost pripada apstraktnom konstruk-
Reerring to the works rom his nal period, Vasarely condense . spoke o universal structures that expand and condense. Bach Album Album he attempted to express his respect or In Bach In Johan Sebastian Bach, one o the biggest geniuses in the history o music. In my opinion Vasarely drew on Bach’s virtuoso variations. i.e. latter’s capacity to take up a simple theme and perorm it in an innite number o variations. I deem that Vasarely experienced experienced music as the closest art sphere, since it can be understood and described mathematically, mathematically, same as his own art system. The Bach album contains several print plates, and can be viewed as a baroque, loose version o the sealed order o earlier, strict, central and rectangular coordinate systems, (So-So, Em-Ce). The aim was to brighten up the eye and create a visual sensation. A particular print plate was named Rey-Tey, which is a unique example o titling or Vasarely. In Hungarian language, "rejtély" means "secret" and connotes the actual essence o the work, but is incomprehensible to an observer and by itsel a secret or one who doesn’t speak Hungarian. Namely, the observer’s movement infuences the change in refecting the light that alls onto a silver olium, or which reason the work’s structure incessantly changes, always giving rise to new paintings. Vasarely promoted the democratization o artworks and art. His original works were multiplied through prints, making his compositions available in new variants. Mindully selecting plates, he would compose the albums that describe his own stations on a path o abstracting the orms and his own artistic struggle with possibilities hidden in the richness o motis. His art language is related to Constructivism, and is relying on the compositional solutions o synthetic Cu-
tivizmu. Njegov umjetni~ki jezik u rodu je s pravcem konstruktivizma, a oslanja se na kompozicijsk kompozicijskaa rje{enja sinteti~koga kubizma. U toj se duhovnosti može otkriti umjetni~ka vizija Bauhausa, kao i umjetni~ka misao artiste artis te engagé engagé (Jean-Paul Sartre) ~etrdesetih i pedesetih godina u Francusk Francuskoj. oj. Unato~ me|unarodnim uspjesima, brojnim nagradama, odlikovanjima mnogo je puta izražavao razo~aranje. Nije želio prihvatiti spoznaju da je razdoblju velikih društvenih ideja došao kraj. Usamljeno se borio kako bi u~inio umjetnost "zajedni~kim bogatstvom" bogatstvom" u nadi da }e to "doprinijeti poboljšanju ljudske sudbine". Umjetnik ~iji su se modeliraju}i i matemati~ki obrasci mogli industrijski umnožavati u umjetni~ka djela, bio je duhovni nasljednik i prijatelj romanti~ne, humanisti~ke i socijalisti~ke umjetni~ke misli dvadesetih i tridesetih godina 0. st., u sve individualiziranijem svijetu svoga doba.
bism. This spirituality can reveal the artistic vision o Bauhaus, as well s artiste s artiste engagé (Jean-Paul Sartre), French art-thought rom the 1940s and 190s. Despite his international successe successes, s, numerous awards and medals, Vasarely expressed disappointment on many occasions. He was lonely in his ght to make art "the common treasure", in hope this will "contribute to the improvement o human destiny". The artist whose modelling and mathematic patterns could be industrially multiplied to produce artworks, was a spiritual heir and riend to the romantic, humanistic and socialist art thought o the 190s and 1930s, living in a growingly individualised world o his own era.
Józse Sárkány
Józse Sárkány
Józse Sárkány povjesni~ar je umjetnosti specijaliziran za suvremenu ma|arsku umjetnost, uklju~uju}i rad Victora Vasarelyja. Od 199. godine nalazi se na ~elu Odjela za likovnu i primjenjenu umjetnost Muzeja Janus Pannonius u Pe~uhu, Ma|arska.
Józse Sárkány is an art historian specialized in contemporary Hungarian art, including the work o Victor Vasarely.. He is serving as the Head o the Fine Art and Vasarely Applied Art Department o Janus Pannonius Múzeum in Pécs since 199.
REY-TEY, 1975. aluminijska olija, papir / aluminium / aluminium oil, paper 760 x 620 mm
ZEBRA, 1938., tapiserija, vuna / woven / woven tapestry, wool, 1500 x 2140 mm
ETUDE VERT, 1929-1972., serigrafja, papir / serigraph, / serigraph, paper, 420 x 315 mm
GORDES VILLAGE, 1948., bakrorez, papir / copperplate, / copperplate, paper paper,, 720 x 615 mm
GORDES GESTALT, 1948., bakrorez, papir / copperplate, / copperplate, paper paper,, 720 x 615 mm
GORDES TABOR, 1948., litografja, papir / litography, / litography, paper, 630 x 440 mm, 720 x 615 mm
GORDES TAIRA, 1948., litografja, papir / lithography,paper, / lithography,paper, 720 x 615 mm
AGUIA 2, 1955., tuš, kolaž, papir / black / black ink, collage, paper, 320 x 290 mm
CASSIOPE-OS,1956., tempera, papir / tempera, / tempera, paper, 440 x 330 mm
GUASAR-DIA-2, 1965., tempera, papir / tempera, / tempera, paper, 450 x 450 mm
MEH-III-A,1967., tempera, papir / tempera, / tempera, paper, 450 x 450 mm
SO-SO, 1973., serigrafja, papir / serigraphy, / serigraphy, paper, 760 x 620 mm
LA-MI, 1973., serigrafja, papir / serigraphy, / serigraphy, paper, 760 x 620 mm
DI-AM, 1973., serigrafja, papir / serigraphy, / serigraphy, paper, 760 x 620 mm
DO-RE, 1973., serigrafja, papir / serigraphy, / serigraphy, paper, 760 x 620 mm
Vasarelyjev životni put
Vasarely's Life Path
Victor Vasarely (Gyözö Vásárhelyi) ro|en je 9. travnja 1906. u Pe~uhu. Djetinjstvo je proveo u Piešt’anyu i Budimpešti, gdje je 19. godine maturirao. Zatim je zapo~eo medicinsku naobrazbu, no zbog zanimanja prema umjetnosti prekinuo je studij.
Victor Vasarely (Gyözö Vásárhelyi) was born in Pécs, HunHungary, on 9 April 1906. He spent childhood in Piestany and Budapest, where he graduated rom the secondary school in 19. He begun medical studies, but dropped out due to his interest in art.
1927.
1927
Upisao je školu za crtanje Podolini Volkmann u Budimpešti, poha|aju}i poduku o klasi~nom akademskom slikarstvu. 1928.
“ hely (Radionicu) Sándora Bortnyika, Poha|ao je Mu“ budimpeštanski Bauhaus. Tu je upoznao svoju budu}u suprugu Kláru Spinner. Željeli su oti}i na studij u Berlin, no od toga su odustali zbog politi~ke orijentacije. 1930.
Nastanili su se u Parizu. Do 1944. god. stanovali su u razli~itim hotelima, a nakon rata otišli su u Arcueil, odakle su se 1961. god. preselili u Annet-sur-Marne, gdje je Vasarely živio do kraja života. Ispo~etka je u Parizu radio kao primijenjeni gra~ar u tvrtkama Havas, Hav as, Draeger i Devambez. U razdoblju od 1933. do 1938. u njegovim su se djelima pojavljivali crno-bijeli kontrasti te motivi tigra i zebre. 1931.
Rodilo se prvo dijete, André. 1934.
Rodilo se drugo dijete, Jean-Pierre (Yvaral). 1940.
Upoznao je Denise René, koja je kao kolekcionarka i vlasnica galerije poduprla Vasarelyjeve težnje.
Enrolled the Podolini Volkmann Drawing School, Budapest, where he took lessons in classic academic painting. 1928
“ hely (Workshop), so called BudaVasarely joined Mu“ pest Bauhaus Bauhaus, lead by Sándor Bortnyik. There he met his uture wie Klára Spinner. They wanted to study in Berlin, but gave it up due to political orientation. 1930
The couple took residence in Paris. Until 1944 they lived in various hotels, and ater the war relocated to Arcueil. In 1961 they moved to Annet-sur-Marne, where Vasarely lived until the end o his lie. In the beginning he worked in Paris as an applied graphic artist or Havas, Draeger and Devambez Companies. From 1933 to 1938 his works eatured black and white contrasts, as well as the motis o tiger and zebra. 1931
Birth o Vasarely’s rst child, André. 1934
Birth o Vasarely second child, Jean-Pierre (Yvaral) 1940
Vasarely met Denise René, a collectionist and gallery owner who supported his aspirations.
1944.−1947.
Zapo~eo je intenzivno stvarati slike uljanom tehnikom, a djela iz toga perioda kasnije je nazvao Krivi putev putevi i . 1947.−1951.
Razvijao je apstraktne kompozicije slika, koje su nastale u ciklusima Denert, Denert, Belle Belle Isle i Gordes-Kristály . 1951.−1955.
1944−1947
Begun painting intensively in oil technique, later reerring to the works rom that period as Wrong Roads. 1947−1951
Vasarely engaged in developing abstract painting compositions, within cycles titled Denert, Belle Isle and Gordes-Kristály . 1951−1955
Eksperimentirao je s crno-bijelim geometrijskim obrascima i plošnim ormama iz kojih je pokušavao stvoriti iluziju pokreta i vibracije. Radi se o razdoblju u kojem je denirao i razvijao vizualne elemente Op-arta. Ostvario je i nekoliko djela gdje je opti~kom umjetnoš}u intervenirao u arhitektonski prostor prostor..
Vasarely experimented with black and white geometric patterns and fat orms, whererom he tried to create the illusion o movement and vibration. In this period he was dening and developing the visual elements o Op-Art. He realized several works based on optic art interventions into the architectural space.
Od 1955. dosljedno je stvarao u interesu plasti~noga je-
From 1955 he consistently created in the interest o pla-
dinstva i usavršavanja novih mogu}nosti kineti~ke umjetnosti.
stic unity and the perection o the new kinetic art’s possibilities.
1955.−1965.
Nastala su djela njegova ciklusa Folklore Planétaire, obilježena multipliciranjem istoga motiva u novim djelima. 1959.
Dobio je rancusko državljanstvo.
1955−1965
A period o Folklore Planétaire Planétaire cycle, marked by multiplying the same moti in new artworks. 1959
Obtaining French Citizenship.
Sredinom šezdesetih godina zanimao se za prikazivanje
Middle of the 1960s was a time when Vasarely took in-
dvodimenzionalnih i trodimenzionalnih osmerokuta i tada su nastali radovi ciklusa Bidim, Hexagone, Tridim, Vega, Vonal .
terest in two-dimensional and three dimensional octagons, creating the works rom Bidim Bidim,, Hexag Hexagone, one, TriTridim, Vega and Vonal cycles.
Od 1970. stvarao je sažete preglede, arhitektonske inte-
gracije, didakti~ke programe, isprva za Muzej VasareVasare ly u Gordesu (190.), a kasnije u vezi s ameri~kim, njema~kim i norveškim Zakladama Vasarely Vasarely .
Vasarely started creating the abridged surveys, architectural integrations and didactic programs, at rst or Vasarely Museum in Gordes (190), and later on in connection to American, German and Norwegian Vasarely Foundations.
In 1970
1976.
1976
U Aix-en-Provenceu sve~ano su otvorili vlastiti muzej Zaklade, koji je ponudio mogu}e rješenje sinteze likovne umjetnosti i arhitekture, a ujedno je unkcionirao i kao me|unarodna radionica analiti~ko-vizualnih eksperimenata.
The Foundation solemnly opened its own museum in Aix-en-Provence, oering a potential solution or the synthesis o visual art and architecture. The Museum unctioned also as an international workshop in analyzing the visual experiments.
Otvoren je Muzej Vasarely Vasarely u Pe~uhu.
Opening o the Vasarely Museum in Pécs.
1982.
Poklonio je Muz Muzeju eju 400 umjetni~kih djela. 14 serigraje poslao je u svemir (Soyuz , s rancuskim astronautom Jean-Loupom Chrétienom. Radovi su kasnije bili prodani za dobrotvorne svrhe UNESCO-a). 1983.
Postaje po~asni gra|anin Gordesa. 1984.
Održava se Vasarel Vasarelyjev yjev tjedan u New Yorku, gdje je proglašen po~asnim gra|aninom. 1987.
U Budimpešti je, u dvorcu Zichy otvoren drugi ma|arski Muzej Vasarely Vasarely . 1990.
1982
Vasarely donated 400 artworks to the Museum. Sent 14 serigraphs to the space (Soyuz , with French astronaut Jean-Loup Chrétien. This works were later sold or the benet o UNESCO). 1983
Named Honorary Citizen o Gordes. 1984
Vasarely’s Week in New York. Named Honorary CitiVasarely’s zen o New York. 1987
The second Hungarian Vasarely Museum opened at Zichy Castle in Budapest. 1990
Umire mu supruga.
Vasarely’s wie died.
Njegova su umjetni~ka stvarala~ka snaga i zdravlje narušeni.
His art creative power and health became impaired.
1992.
Umire njegov sin Jean-Pierre, Yvaral. Postaje po~asni proesor budimpeštanskoga Fakulteta likovnih umjetnosti. 1993.
Odri~e se Ordena Legije ~asti. 1997.
Vasarely umire 14. ožujka u rancuskom mjestu Annet-sur-Marne.
1992
His second child Jean-Pierre, Yvaral dies. He becomes a proessor emeritus at Budapest Faculty o Visual Arts. 1993
He renounced the Legion o Honour Medal. 1997
Vasarely passed away in a French town o Annetsur-Marne, on 14 March 199.
Odlikovanja, umjetni~ke nagrade i priznanja
Medals, art awards and acknowledgments
1955.
1955
Bruxelles, Prix de la Critique Milano, Triennale, Zlatna medalja Venezuela, International Prize Prize 1964.
New York, International Guggenheim Guggenheim Award 1965.
Pariz, Chevalier de l’Ordre des Arts et des Lettres – Umjetni~ki i književni viteški red Ljubljana, VI. Me|unarodni gra~ki bijenale, Grand Prix São Paolo, VIII. Me|unarodni bijenale likovne umjetnosti, Velika nagrada Pariz, Société d’Encouragement á l’Art et á l’Industrie , Zlatna medalja 1966.
New Orleans, po~asni gra|anin Krakow,, I. me|unarodni gra~ki bijenale, Nagrada Krakow Rimini, II. me|unarodni kongres estetike, Zlatna medalja 1967.
Tokio, IX. Bijenale, posebna nagrada Ministarstva vanjskih poslova Pittsburg, Carnegie Institute, slikarska nagrada 1968.
Pariz, nagrada Prestige du Papier Krakow, II. me|unarodni gra~ki bijenale, Prva nagrada 1969.
Cagnes-sur-Mer, Me|unarodni estival slikarstva, nagrada Aranypaletta Budimpešta, Ma|arski akultet za primijenjenu umjetnost, po~asni proesor
Brussels, Prix de la Critique Critique Milan, Triennial, Gold Medal Venezuela, International Prize 1964
New York, International Guggenheim Award 1965
Paris, Chevalier de l’Ordre des Arts et des Lettres , a French order recognizing signicant contributions to the arts and literature Ljubljana, 6th International Print Biennial, Grand Prix Sao Paolo, 8th Sao Paolo Art Biennial, Grand Prix Paris, Société d’Encouragement á l’Art et á l’Industrie , Gold Medal 1966
Honorary Citizen o New Orleans Krakow, 1st International Print Biennial, Award Rimini, nd IAEA Congress on Empirical Aesthetics, Gold Medal 1967
Tokyo, 9th Biennial, Special Award by the Ministry Mi nistry o Foreign Aairs Pittsburgh, Carnegie Institute, Painting Award 1968
Paris, Prestige du Papier Papier Award Krakow, nd International Print Biennial, 1st Prize 1969
International de Peinture de Cagnes-sur-Mer Festival, Aranypaletta Award Budapest, Hungarian Faculty or Applied Arts, Proessor Emeritus
1970.
Pariz, vitez Ordena Legije ~asti 1971.
Jeruzalem, Musée d’Israel d’Israel , II. Bijenale umjetni~kih knjiga, Me|unarodna nagrada za umjetni~ke knjige Diano Marina, me|unarodna nagrada Leipzig, Knjige koje prikazuju gradsku umjetnost, srebrna medalja Aix-en-Provance Aix-en-Pr ovance, Po~asna nagrada Grada Gyo“r, “r, 00. jubile jubilejj grada gra da Gyo G yo“ra “ra za kazališn ka zališnee kulise, kul ise, Po~asna nagrada Grada 1972.
Krakow, IV. Me|unarodni gra~ki bijenale, posebna nanagrada Nacionalnog muzeja, Varšava 1973.
Villeparis, po~asni gra|anin 1974.
Fredrikstad, Me|unarodni gra~ki bijenale, zlatna medalja 1975.
Pariz, Umjetni~ka nagrada Akademije arhitekture Jeruzalem, Musée d’Israel , IV. Bijenale umjetni~kih knjiga, Me|unarodna nagrada za umjetni~ke knjige 1976.
Pe~uh, po~asni gra|anin 1977.
Venezuela, Orden Andrès Bello Cleveland, University o Cleveland , po~asni doktor u Pe~uhu je podignuta njegova skulptura Jel-sz Jel-szobo obor r ( Znak Znak ) 1978.
Goslar, umjetni~ka nagrada Der Kaiserring Goslar, Kaiserring Lovorika Reda zastave Narodne Republike Ma|arske München, izdava~ Bruckmann, Stoljetna zlatna medalja 1979.
Aix-en-Provance, po~asni gra|anin
1970
Paris, French Knight o the Legion o Honour Medal 1971
Jerusalem, Israel Museum, nd Biennial o Art Books, International Award or Art Books Diano Marina, International Award Leipzig, Books Presenting the City Art, Silver Medal Aix-en-Provance Aix-en-Pro vance, Honorary Municipal Award Gyo“r, “r, City C ity’s’s 00th Jubilee, Honorary Municipal Award or Theatrical Scenery 1972
Krakow, 4th International Print Biennial, Special Award by Warsaw National Museum 1973
Honorary Citizen o Villeparisis 1974
Fredrikstad, International Print Biennial, Gold Medal 1975
Paris, Architecture Academy, Art Award Jerusalem, Israel Museum, 4th Biennial o Art Books, Israel Museum, International Award or Art Books 1976
Honorary Citizen o Pécs 1977
Venezuela, Andrés Bello Medal Cleveland, University o Cleveland, Honorary PhD Vasarely’s Jel-szobor (Sign) sculpture erected in Pécs 1978
Goslar, Der Kaiserring, Art Award Order o the Flag o the Hungarian Republic with Laurel Wreath, medal Munich, Bruckmann Publ., Centennial Gold Medal 1979
Honorary Citizen o Aix-en-Provance
1980.
Brazil, Rio-Branco nagrada Zaslužni radnik Francuske Orleans, Umjetnost grada, konerencija, medalja Grada 1981.
^asnik Ordena Legije ~asti 1983.
Gordes, po~asni gra|anin 1984.
New York, Vasarelyjev tjedan, po~asni gra|anin 1992.
Budimpešta, po~asni proesor Fakulteta likovnih umjetnosti
1980
Brazil, Rio-Branco Award Meritorious Worker o France Orleans, Art o the City, conerence, City o Orleans Medal 1981
Ocer o the France Legion o Legion, Medal 1983
Honorary Citizen o Gordes 1984
Vasarely’s Week in New York, Honorary Citizen o New York 1992
Budapest, Faculty o Visual Arts, Proessor Emeritus
VEGA BLEUE, 1968., tempera, papir / tempera, / tempera, paper, paper, 320 x 320 mm
ME-TA, ME-T A, 1973., serigrafja, papir / serigraphy, / serigraphy, paper, 760 x 620 mm
Nova forma umjetnosti
New Form Beauty
Pe~uh, ulica Kaptalan broj 3. Jedna stara dvorišna ku}a, podalje velika zgrada s ~etiri tornja, još dalje brijeg, možda brdo. Tettye... To je sve, što se u sje}anju trogodišnjeg dje~aka o~uvalo o rodnom gradu. Pe~uh se razvio, proširio, izgradio-uljepšao i ušao u moderno doba, saznadoh putem novijih vijesti, novinskih ~lanaka i knjiga. Izlaže li Muzej Janus Pannonius u Pe~uhu djela svog iseljenog sina, istraživa~a smjelih cesta? Ova ~injenica za mene predstavlja golemu radost i veliku ~ast.
Pécs, Kaptalan Street No 3. An old back-building, a bit arther a large building with our towers, even more arther a hill, maybe a mount. Tettye.... That's about all the memories a three-year old has o his hometown. Pécs has developed, expanded, grew to be built up and embellished, and entered the modern era, so I've learned through recent news, newspaper articles and books. And now the Janus Pannonius Museum rom Pécs exhibits the works o its emigrant son, explorer o bold paths? This act bestows me with both immense joy and honour honour..
A sada bih pokušao skicirati – oslikati stanje zapadne umjetnosti. Svijet se uistinu jako promijenio za ovih nekoliko desetlje}a! Dinami~ni su strojevi ubrzali kretanje. Dijalekti~ni strojevi, poput tiskarske tehnike, kina, radija, televizije i elektronskih mozgova, inormiraju nas sve vrtoglavije u kvantitativnom i kvalitativnom smislu o doga|anjima na pozornicama kugle zemaljske. Narodi su se me|usobno približili, stvorena je mogu}nost razmjene kultura, ideja i pronalazaka. Humanisti~ke i apstraktne znanosti položene su na nove temelje. Matematika, zika, kemija, genetika, kozmogonija, ekonomija, sociologija, psihologija i kibernetika više se ne obra}aju ~ovjeku mistiku i idealistu, istodobno egocentriku i anakronistu. ^ovjek je postao samosvjesno bi}e gladno znanja, materijalisti~kog i socijalnog razmišljanja. Romanti~-nog pojedinca, oholog genija, zamijenile su sku-
And now I would like to sketch, to paint the state o aairs in Western art. The world has truly changed a lot during these ew decades ! Dynamic machines have speeded up the movement. Dialectic machines, such as printing technique, cinema, radio, television and electronic brains, inorm us ever more dizzily, in both quantitative and qualitative sense, o the events all over the Earth sphere's stages. The peoples have approached each other, and the possibility was created or the exchange o cultures, ideas and discoveries. Humanistic and abstract sciences have been laid upon new oundations. Mathematics, physics, chemistry, genetics, cosmogony, economy, sociology, psychology and cybernetics do not longer speak to the man who is a mystic and idealist, at the same time an egocentric and anachronist. The man has became a selconscious creature, thirsting or knowledge, materialist and social thought. A romantic individual, an arrogant
pine specijaliziranih stru~njaka. Slikar nije više nadahnuta, inspirirana, empiri~ka osoba, ve} educirani istraživa~, poput znanstvenika. On poznaje zi~ke i duševne potrebe, te prava ~ovje~anstva. Svjedoci smo bolnog, ali nadobudnog, ra|anja tehnološkog svjetskog društva. Ideološke revolucije prošlosti polagano su urodile plodom. Paralelno s raspodjelom materijalnih dobara milijuni ljudi po~eli su zahtijevati i raspodjelu kulturnog bogatstva. Umjetnost mora postati javnim blagom. Golemi se program odvija u dva pravca: najprije se provodi selekcija, redakcija i prezentacija umjetni~kog blaga prošlosti putem škola, domova kulture, muzeja, knjižnica, konerencija i lmova. Drugi pravac dovodi suvremena djela u vrevu svakodnevnog života: u stanove. Suvremena djela postaju dijelom urbane arhitekture i estetike, plasti~nog dizajna škola, tvornica, bolnica, zra~nih luka, cestovnih sustava, preko inovativnih, uzbudljivih rješenja dekoracije, atrakci ja, svjetsk svjetskih ih izložb izložbi.i. Rije~j Rije~juu kreiraju kreiraju se stotine stotine i stotine stotine novih unkcija, a koje podrazumijevaju izraženost ormi boja. Napredak je preina~io prirodno lijep krajolik u umjetan, nažalost naj~eš}e anarhi~an i ružan, ~ak ubita~an za živce i suvremeni se slikar više ne može zadovoljiti slikanjem malih dopadljivih slika. On mora uljepšati detaljima moderno grandiozno okru`enje, jer plasti~ne su orme ljudima potrebne podjednako kao i sun~ev sjaj, kisik ili vitamini. Lijepa priroda staroga svijeta, kao što sam ve} rekao, djelomi~no je postala umjetna. Istovremeno Ist ovremeno se neizmjerno proširila pravcem dviju suprotstavljenih, ali povezanih krajnosti. S jedne je strane pravac pre-
genius, has been replaced by the groups o specialized experts. A painter is no more an inspired, empirical individual, but an educated researcher, resembling a scientist. He is aware o both physical and psychological needs, as well as the rights o humanity. We became the witnesses o painul, but eager birth o the technological world-society. The ideological revolutions o the past have slowly bore their ruits. Paralely with the division o material assets, the millions o people started to demand the distribution o cultural riches too. The art is bound to become the public treasure. This huge program evolves in two directions: rst come selection, redaction and presentation o the art treasures o the past, conducted through schools, culture centres, museums, libraries, conerences and lm. The second direction lands contemporary artworks straight into a hustle and bustle o everyday lie: into the apartments. Contemporary artworks become a part o urban architecture and aesthetics, o the plastic design o schools, actories, airport, road systems, through innovative, exciting solutions in decorations, various attractions and world exhibitions. In a word, hundreds and hundreds o new unctions are created, that presume the expressivity o colour orms. Progress has transormed a naturally beautiul landscape into an articial, unortunately oten anarchic and ugly, even nerve-killing environment. Hence a contemporary painter can no longer be content with painting pretty little pictures. He must beautiy the details o the modern, grandiose environment, since people need plastic orms same as they need sunlight, oxygen or vitamins. The beautiul nature o the old world, as I've already said, has become partially articial. In the same time it has immeasurably expanded in the directions o two
ma svijetu oku nevidljivih }elija, molekula i atoma, a s druge strane pravac udaljenog, golemog zvjezdanog univerzuma. Priroda koju možemo iskusiti osjetilima tisu}lje}ima je ve} nadahnjivala umjetnike. Zalazak i izlazak sunca, vo}e, akt, portret, simboli i znaci, te emotivni svijet nadahnuli su tisu}e i tisu}e remek-djela. Poezijom i životom, ~ak i vje~nim. Zašto ova proširena divovska, zi~ka stvarnost s relativnoš}u, elektri~nim i magnetnim poljem, svojim svjetlosnim valovima, problemima materije, prostora i vremena, ~udima i tajnama ne bi mogla postati nepresušnim izvorom nove poezije i ljepote? Ja u to ~vrsto vjerujem, ali pridodajem, da sredstvo izražavanja ovih novih doživljaja više ne može biti prikazivanje, ve} ukazivanje. Ukazivanje putem jedne prenesene analogije. Ulogu umjetni~kog prikaza iz prošlosti pomalo je prisvojila otograja i lmska tehnika. tehnika. Tehnike Tehnike koje koje su s crno-bijelog prešle u boju, dakle postale prirodne. Novine, revije, knjige, albumi i lmovi upoznaju nas s neizmjernim bogatstvom ormi ovog svijeta. Konvencionalno slikarstvo, u smislu tehnike i poruke pomalo se iscrpilo isc rpilo i po~elo ponavljati! To nazivamo dekadencijom. Trebalo je do}i jedno destruktivno razdoblje u obliku kubizma i dadaizma. Ova dva umjetni~ka pravca, svaki na svoj na~in, razbila su obe}ani put prikazivanja apstraktnog slikarstva. Razni stilovi i razni "izmi" bliske prošlosti i sadašnjosti, nastupaju}i za jedno, daju povod za mnoge nesporazume. Osim toga, neograni~ena sloboda suvremenog umjetnika ima tako|er svoje tamne i svijetle strane. Apstrakci-
opposed, yet related extremes. On one hand there is a direction leading to the world o cells, molecules and atoms, invisible to the eye, while the other direction points at the remote, huge, starry universe. Nature that can be experienced through our senses has been inspiring artists or centuries. Sunset and sunrises, ruits, nude, portrait, symbols signs and emotional world have provided inspiration or thousands and thousands o masterpieces. This inspiration gave rise to poetry and lie, even eternal lie. Is there a reason as to why this expanded, gigantesque, physical reality with associated relativity, electric and magnetic eld, its light waves, problems o matter, space and time, wonders and secrets, could not become an inexhaustible source o new poetry and beauty? I rmly believe it can, with the addition that the means o expression o these new experiences can no longer be depiction but designation. Designation eected through a transerred analogy. The past representational role o art has gradually became appropriated by photography and lm technique. These are techniques that have abandoned black and white or the sake o colour, thereore becoming natural. Newspapers, magazine, books, albums and lms introduce us to the immeasurable riches o this world's orms. Conventional painting, in a sense o technique and message, has became somewhat exhausted and started to repeat itsel! This is called decadence. There was a need or destructive period, in a orm o Cubism and Dadaism. These two art trends, each in its own particular ashion, have demolished a promised road o depiction in abstract painting. Diverse styles and "isms" rom recent past and present came together
ja je i sama ~esto kro~ila stranputicama. Puno je {arlatana i još više karijerista u današnjem društvu umjetnika. Me|utim, to je za sada neizbježno. Što se mene ti~e, izabrao sam konstruktivan put apap strakcije, ~iji su ma|arski pobornici bili Lajos Kassak, Moholy-Nagy i Sandor Bortnyik. Konstruktivizam, odnosno neoplasticizam, bio je samo apstrakcija orme. Raspoloženja i reminiscencije okoliša još su dugo živjele u slikama. Trebamo dakle na~initi korak dalje. Ve} oko 193. u mojim gra~kim studijama pojavljuju se prvi vibracijski eekti. Me|utim, svjesno sam se kineti~kim eektima po~eo baviti tek oko 190. godine. U nadolaze}im sam godinama kreirao ona crno-bijela, pozitivno-negativna djela, koja su danas postala svjetska moda pod nazivom OP-ART to jest opti~ka umjetnost. Što je zapravo OP-ART ili kineti~ka apstrakcija? Nije ništa drugo, ve} uvo|enje dimenzije kretanja, prostora i vremena u plasti~ni svijet. Još smo uvijek u dvodimenzionalnom svijetu, ali je iluzija stvaranja prostora i kretanja u mikro-vremenu tako jaka da djeluje kao stvarnost. Dakako samo na razini retine oka. Suo~eni smo s opti~kim enomenom. Kompozicija se sastoji od malih, ali mnogobrojnih geometrijskih oblika koji u skladu s topograjom proizvode miran ili dinami~an ugo|aj. Analizi slike je mogu}e pristupiti i pomo}u teorije inormacije. Par DA-NE putem sistema pitanja može se programirati u elektronskom mozgu. Istraživa~ima se otvara izuzetno bogata perspektiva, ateljersko-empiri~ki pristup umjet-
and gave rise to many misunderstandings. Besides, the unlimited reedom o contemporary artists has its dark and light sides. Abstraction itsel has oten treaded astray. Presently, artistic population eatures a lot o charlatans and even more careerists. As or mysel, I have chosen a constructive path o abstraction, whose Hungarian ollowers were Lajos Kassak, Moholy-nagy And Sandor Bortnyik. Constructivism i.e. Neoplasticism was solely an abstraction o orm. Atmospheres and reminiscences o environment have long lived on in paintings. Thereore, we should make a step orward. Already in 193 my graphic studies eatured the rst vibratory eects. However,, I started consciously pursuing kinetic eects However only around 190. In the ollowing years I have created those black and white, positive-negative works, that today become world ashion known as OP-ART i.e. optic art. What is really OP-ART or kinetic abstraction? It is nothing else but introducing the dimension o movement, space and time into the plastic world. We are still in two-dimensional world, but the illusion o creating space and movement in microtime is so strong that it acts as reality. O course, this happens exclusively at the level o eye retina. We are conronted with an optical phenomenon. Composition is made o small but numerous geometric orms which, in accord with topography, produce either calm or dynamic atmosphere. The analysis o painting can be approached also via inormation theory. YES-NO pair can be applied within the question system and programmed in electronic brain. Researchers ace the opening o an outstandingly rich perspective and the artist’s atelier-
nika postaje samo uspomenom iz prošlosti. Umjetnik, nakon što je programirao djelo, prepušta stroju munjevito pretraživanje beskrajnog broja mogu}nosti. Izabrat }e i primijeniti najljepše i najprikladnije rješenje. Subjektivna reerenca publike ostvarit }e se glasovanjem, što sve u svemu pruža statisti~ku istinu. Ova misao koja seže u daleku budu}nost, oko 198. godine, postala je praksa u ateljeu. Najprije sam oormio plasti~nu abecedu s dvadeset oblika boja. Svaki pojedini oblik boje ~ini plasti~nu cjelinu. Sve jedinice sastoje se od pravilnog ~etverokuta ~etverokuta i orme koja se nalazi u njemu. Ova su dva sastojka-elementa me|usobno nerazdvojna, crnog ili bijelog zi~kog izgleda. Oni tvore crno-bijelo, pozitivno-negativno jedinstvo, te ~ine}i korak dalje jedinstvo boje-harmonije ili boje-kontrasta. Jedinice se ravnaju prema zakonitostima decimalnog broj~anog sustava, a kompozicija raste u geometrijskim stupnjevima. Komponirati se može ve} s 4 jedinice, te s 9, 1, 16, , 100, 400 i više tisu}a jedinica! Dvadeset oblika boja jedinice pripadaju istoj obitelji, a u me|usobnoj kombinaciji tvore mogu}nost beskrajnog broja slika. Njihova me|usobna kombinacija tvori mogu}nost beskrajnog broja slika ovisno o mašti raznih osoba ili etni~kih skupina. U mojim napisima ovaj sustav spominje se pod nazivom Folklore Planetaire i tako je ušao u svijest javnosti.
empirical approach becomes but a memory rom the past. Ater programming an artwork, the artist assigns the machine with a task o a lightning-speed search amongst an innite number o possibilities. Consequently,, the artist selects and applies the most beauquently tiul and adequate solution. The subjective reerence o audience will be realized through voting which, by and large, provides a statistic truth. This ar-reaching thought became the atelier practice in 198. First I have ormed a plastic alphabet, using twenty colour orms. Each particular orm made up a plastic whole. These two ingredients-elements are inseparable rom each other, appearing physically as black or white. They make up black-white, positivenegative unity and present a step orward, towards a unity between colour-harmony and colour-contrast. Units ollow the laws o decimal numeral system, and the composition grows by geometrical degrees. One can compose with as much as 4 units, ollowed by 9, 1, 16, , 100, 400 and more thousands o units ! A single amily encompasses twenty orms o colour units, and their combinations give rise to the potentially innite number o paintings. This depends on the imagination o various individuals or ethnic groups. My texts mention this system under the term Folklore Planetaire, which has entered the public awareness as such.
This thought possesses a great strength. Plastic beauty is expanding in today’s rigid world o architectural Ova misao posjeduje veliku snagu. Plasti~na ljepota techniques, norms and series. Besides being natural, širi se u današnjem krutom svijetu arhitektonske the articial landscape can also be beautiul. Beautiul, tehnike, normi i serija. Osim prirodnog i umjetni kra joyous and diverse. Why would masses masses have to live in jolik može biti lijep. Lijep, veseo i raznolik. Zašto bi
mase ljudi morale živjeti u tmurnim, sivim stambenim zgradama? Generacija koja slijedi iza mene eksperimentira s prostorno-kineti~kim ormama. U kompeticiju ulaze nove dimenzije, svijetlo, energija i zvuk. Rezultati bude nadu, izložbe su postale antasti~ne atrakcije. Siguran sam da }e denitivna orma ovih eksperimenata biti umjetni~ki lm koji }e se putem privatnih projektora, kina i televizije obra}ati milijunima ljudi. Poetska unkcija: slika, skulptura, umjetni~ki eksponat oživljava u obliku multiplikata. Umjesto unikatnog remek-djela prošlosti danas se bez gubljenja kvalitete može kreirati 10, 100 ili 1000 umjetni~kih remek-djela. Dostupni na tržištu ovi multiplikati vjerno reprezentiraju suvremena djela. Na zidovima dje~ jih soba, škola i domova predstavljaju demokratske oblike umjetni~kih djela. Eksponati pe~uške izložbe spadaju u ovu kategoriju. Ova je izložba prva proljetna lastavica u mojoj pradomovini, nakon odsutnosti od skoro ~etrdeset godina. Ujedno je i simbol stvaranja intimnih kulturnih veza Zapadne i Srednje Europe.
Victor Vasarely, 1969. godine predgovor kataloga izložbe u Muzeju u Pe~uhu
somber,, grey residential buildings ? somber The generation coming ater me experiments with spatial-kinetic orms. New dimensions, light, energy and sound enter the competition. Results give rise to hope, exhibitions became antastic attractions. I am sure that these experiments will eventually lead to an art lm that would speak to millions via private projectors, cinema and television. This is the poetic unction: a painting, culture, art exhibit comes alive in a orm o multiple. Instead o a unique masterpiece o the past, today one can create 10, 100, or 1000 artworks without impairing the quality. Available on the market at aordable prices, these multiples aithully represent contemporary artworks. On the walls o nurseries, schools and homes, they present the democratic orms o art. Exhibits rom Pécs Museum belong to this category. This exhibition is a harbinger in my original homeland, ater almost 40 years o my absence. It is also a symbol o creating the intimate cultural bonds between West Europe and Mittel-Europe.
Victor Vasarely, 1969. Foreword, Vasarely Museum Pécs,
Muzej Janus Pannonius, Pe~uh
Ovaj najve}i regionalni muzej u Ma|arskoj uklju~uje mnoge specijalizirane institucije. Jedan od njih je Muzej Victora Vasarelya, ro|enog u Pe~uhu. Postavši Postavši vode}om gurom Op-arta diljem svijeta, Vasarely je 1969. svom rodnom gradu poklonio niz modernih umjetni~kih djela. Zahvaljuju}i toj širokogrudnoj donaciji, Muzej sada posjeduje opsežnu kolekciju Vasarelyevih Vasarelye vih radova koja pruža uvid uvi d u njegov kronološki i tehni~ki razvoj. Pored rijetkih ranih crnobijelih Op-art radova iz šezdesetih, zbirka obuhva}a i kasnije radove u boji, mnoge serigraje, multiple te mape gra~kih radova i velike tapiserije. Sa svojim stalnim izložbenim postavom koji predstavlja preko 400 umjetni~kih radova, jedinstveni Muzej Victora Vasarelya u Pe~uhu (ul. Káptalan 3) postoji od 196.
Janus Pannonius Múzeum, Pécs
This largest regional museum in Hungary harbours many specialized institutions. One o them is the Museum od Victor Vasarely, a nateive o Pécs and leading gure in Op-art throughout the world, who, in 1969, presented his native town with a number o modern works o art. Thanks to this generous donation the Museum now has a comprehensive collection o Vasarely's work providing insight into its chronological and technical development. Apart rom rare early black-and-white Op-art works rom the 1960s, there are also late colour art works, many serigraphs, multiples, portoolios o graphic works and large tapestries. The unique Vasarely Museum in Pecs (Káptalan st.. 3) with permanent exhibition presenting over 400 o the artist's works o art has been in existence since 196.
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Galerija Kortil / Kortil / Kortil Gallery Hrvatski kulturni dom na Sušaku / Croatian Cultural Centre in Sušak Strossmayerova 1, Rijeka, Hrvatska