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Victor Vasarely (French: [viktɔʁ vazaʁeli]; born Győző Vásárhelyi, Hungarian: [ˈvaːʃaːrhɛji ˈɟøːzøː]; 9 April 1906 [1] – 15 March 1997) was a Hungarian-French artist, who is widely accepted as a "grandfather" and leader [2] of the Op art movement.
Op art, short for optical art, is a style of visual art that uses optical illusions. [ 1 ] Op artworks are abstract , with many better-known pieces created in black and white.
In the early 1970s Allen was involved with Bridget Riley and Peter Sedgley's artist cooperative at the Match Shed in London. In 1970 his large two colour stripe acrylic Op art paintings on canvas were installed at the Match Shed in London (Images from Richard Allen's website) and he had a one-man show at Angela Flowers in 1971.
The Necker cube is an optical illusion that was first published as a rhomboid in 1832 by Swiss crystallographer Louis Albert Necker. [1] It is a simple wire-frame, two dimensional drawing of a cube with no visual cues as to its orientation, so it can be interpreted to have either the lower-left or the upper-right square as its front side.
The following is a list of notable op artists: Yaacov Agam (born 1928) Josef Albers (1888–1976) Richard Allen (1933–1999) Getulio Alviani (1939–2018) Edna Andrade (1917–2008) Anonima group; Richard Anuszkiewicz (1930–2020) Marina Apollonio (born 1940) Gianni Colombo (1937–1993) Carlos Cruz-Díez (1923–2019) Tony DeLap (1927–2019)
Georges Seurat's 1886–1887 The Bridge at Courbevoie, copied and enlarged by Riley, had a powerful influence on her approach to painting. [18] The Courtauld Gallery's 2015–2016 exhibition "Bridget Riley: Learning from Seurat", including her 1960 painting Pink Landscape (seen here in the poster) showed how Riley's style was influenced by Georges Seurat's pointillism and pleasure in seeing.
Jean-Pierre Vasarely (1934–2002), professionally known as Yvaral, was a French artist working in the fields of op-art and kinetic art from 1954 onwards. He was the son of Victor Vasarely , who was a pioneer of op-art.
Rayo's work shows that geometric art is as much a part of the past as it is of the future. He used traces of the past to discover new ways to present visual and geometric sketches. One of his most celebrated exhibitions was carried out in the National Room of the Museum of the Palace of fine arts of Mexico, titled "20 years, 100 works: Omar Rayo."