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Vasarely eventually went on to produce art and sculpture using optical illusion. Over the next three decades, Vasarely developed his style of geometric abstract art, working in various materials but using a minimal number of forms and colours: 1929–1944: Early graphics: Vasarely experimented with textural effects, perspective, shadow, and light
An optical illusion by the Hungarian-born artist Victor Vasarely in Pécs (1977). Op art ceramic mosaics by Wojciech Fangor in a railway station in Warsaw in Poland (1963). Op art in modern architecture as a mosaic, painting with enamel paint on steel by Stefan Knapp in University of ToruĊ in Poland (1972). Op art perhaps more closely derives ...
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.
However, a visit to the Grabowski Gallery in London introduced Constable to the work of Oliver Bevan, a graduate of the Royal College of Art in 1964, whose optical and geometric paintings were influenced by Vasarely's Op Art. On seeing Bevan's work, Constable commissioned him to create the covers for the first ten Fontana Modern Masters, which ...
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.
Groupe de Recherche d'Art Visuel (GRAV) (Research Group for Visual Art) was a collaborative artists group in Paris [1] that consisted of eleven opto-kinetic artists, like François Morellet, Julio Le Parc, Francisco Sobrino, Horacio Garcia Rossi [Wikidata], Yvaral, Joël Stein [Wikidata] and Vera Molnár, who picked up on Victor Vasarely's concept that the sole artist was outdated and which ...