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532A
1360210

Victor Vasarely

(France, 1908-1997)
Estimate
150 000 - 200 000 SEK
13 400 - 17 900 EUR
14 200 - 19 000 USD
Hammer price
250 000 SEK
Covered by droit de suite

By law, the buyer will pay an artist fee for this work of art. This fee is 5% of the hammer price, or less. For more information about this law:

Sweden: BUS
Finland: Kuvasto

Purchasing info
Image rights

The artworks in this database are protected by copyright and may not be reproduced without the permission of the rights holders. The artworks are reproduced in this database with a license from Bildupphovsrätt.

For condition report contact specialist
Lena Rydén
Stockholm
Lena Rydén
Head of Art, Specialist Modern and 19th century Art
+46 (0)707 78 35 71
Victor Vasarely
(France, 1908-1997)

"MANIPUR"

Signed Vasarely and dated 1952-60 a tergo. Marked with no. 1137 verso. Panel 49 x 42 cm.

Provenance

Konrad Gromholt Collection, Oslo.
Galerie Konstruktiv Tendens, Stockholm.
Private collection, Sweden.

More information

Victor Vasarely, born 1908 in Hungary, is considered as one of the leading figures of the Op Art movement thanks to his pioneering art, which focused on contrasting colours and optical illusions. Taught by László Moholy-Nagy, he came into contact with the work of Kandinsky, Gropius, Le Corbusier and Mondrian, as well as the functionalism of Bauhaus, which left an equally strong impression on him. In 1930 Vasarely moved to Paris where he successfully worked as a graphic designer, whilst systematically examining the optical and emotional reach of different graphic techniques. This resulted in a greater comprehension of the geometrical shape and its ability to evoke a physical sensation of space, matter and energy. Vasarely developed his own language of geometrical abstraction, which he alternated infinitely, in doing so creating different optical patterns that had a kinetic effect. He considered colour and form inseparable. Geometrical shapes were arranged in fluorescent colours in such a way that the eye perceived an undulating movement. He summarized this approach with the words: “Every form is a base for colour, every colour is the attribute of a form”. In this way he transposed forms from nature into purely abstract elements in his paintings.

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