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本帖最后由 mostakimseo04 于 2022-8-30 19:33 编辑
From 1944, he dedicated himself exclusively to painting and gave up his advertising work. Since then, he has explored his pictorial graphic research. A vacation in Belle-Isle in 1947 earned him a revelation and it was the beginning of his period of the same name. Nature appears to him as a gigantic composition of multiple abstract forms. With rigor, he works on abstract and oval shapes , illustrating pebbles on the beach, rolling waves, polished pieces of glass. Rather than painting things realistically, he focuses on another reality made of shapes and geometry. Below Kerloo - 1947 - which illustrates his Belle-Isle period, and his ellipsoidal shapes. Crystal Gordes, beyond the Gestalt (1948-1960) When he discovered Gordes in 1948, a village in Provence, he had a new revelation about the perspective of this high city. " Southern towns and villages devoured by an implacable sun revealed to me a contradictory perspective.
The eye never succeeds in identifying the belonging e-commerce photo editing of a shadow or a section of wall: solids and and backgrounds alternate. A triangle unites sometimes with the rhombus on the left, sometimes with the trapezoid on the right, a square jumps higher or wavers downward, depending on whether I couple it to a dark green spot or to a patch of pale sky. Thus identifiable things turned into abstractions and, crossing the threshold of the Gestalt, began their own life ." (1948) > FYI, Geslat - from the verb gestalten , "to shape, to give a meaningful structure" - is a holistic philosophy/psychotherapy of the humanist current where the whole is superior to all the parts, in the sense that each thing is understood in relation to its global context, to understand the whole in its unity. Here, on the contrary, Vasarely dissects each thing outside of its context, to extract a pure and abstract form, without proper meaning.
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Photo source: net-provence.com "Neglecting the history and beauty of old stones, it is this plasticity in the vertical plane that grabbed me and generated a series of decisive works" (1964). On the left, Gordes NIVES litography from 1971, on the right a decomposed photo of Gordes, to illustrate this verticality. Malevich, the damage is done At the end of the 1950s with his Tributes to Malevich (first two photos below), Vasarely created lines and shapes that would become the very symbol of his work: nature is now totally absent, but symmetry, lines, movement, are now a prelude to Optical Art and its kinetic illusions. Photo source: Caracas Shots Tribute to Malevich - 1953 Renault logo: My R5 is a Vasalery! The series of works above already seem to bear the beginnings of the Renault logo created in 1972, almost 20 years later. For the record, the logo would not only be the fruit of the work of Victor Vasarely but that of a collaboration between the artist and his son Yvaral.
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