Everything You Always Wanted To Know About 70s Watches (But Were Afraid To Ask)

VICTOR VASARELY



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VICTOR VASARELY


VICTOR VASARELY

Victor Vasarely merece mención aparte, puesto que no es un relojero sino un grán artista pictórico.

Muchos grandes diseñadores de relojes en los 70 no fueron relojeros, gran cantidad de artistas durante el periodo quisieron romper con los convencionalismos y exportar su arte a otros campos adentrándose en el mundo de la relojeria, …Grandes diseñadores,Arquitectos famosos pintores, este es uno de esos casos.

En la galeria podeis observar varios de sus diseños relojeros,con diales cubistas y formas hexagonales, su estilo fascina o produce rechazo, como la mayoria de los diseños de los 70 de la epoca, (vease Panton Eames y la space age).

Pero sin duda su escasísima coleccion de relojes,  esta altamente valorada actualmente en el mundo de la relojeria.

Victor Vasarely (1908-1997)

Artista francés de origen húngaro, instalado desde 1931 en París, donde trabajó en publicidad, a la vez que pintaba en un estilo de inspiración cubista.

Vásárhelyi Győző, mayormente conocido como Víctor Vasarely (Pécs, Hungría, 9 de abril de 1906 – Francia, 15 de marzo de 1997) es un artista al que se ha considerado a menudo como el padre del Op Art.

Obra de Vasarely expuesta en Hungría

Comenzó a estudiar medicina en Hungría, pero dejó la carrera al cabo de dos años. Se interesó entonces por el arte abstracto y por la escuela de Muheely (principios de laBauhaus), fundada en Budapest (Hungría) por un alumno de la Bahuaus. Le atrajeron Mondrian y Mallevich y se interesó por la astronomía.

Se trasladó a París al principio de los años 1930 y allí trabajó como grafista. En esta ciudad desarrolla su primer trabajo mayor, Zebra, que se considera hoy en día la primera obra de Op art. Durante las dos décadas siguientes, Vasarely desarrolló un modelo propio de arte abstracto geométrico, con efectos ópticos de movimiento, ambigüedad de formas y perspectivas, e imágenes inestables. Utilizó diversos materiales pero usando un número mínimo de formas y de colores. Tenía consideración por la pintura mesurada, reposada, racional y serena (redes, tramas).

A pesar de esta aparente monotonía, tiene una larga evolución y diversas etapas en su producción artística:

intentará darle a sus experiencias artísticas una base exacta, científica y teórica.

1929-1939: trabajos publicitario con efectos ópticos

1939-1948: “período menstrual” investigaciones previas al Op Art.

1948: “Abstracción cinética”

1948- 1958: “Período Blanco/negro: los considera los mejores colores para trascender a través de la fotografía, y porque son los mejores para conseguir el efecto post- retiniano. Hay 3 tipos de obras:

A) Fotografismos: fotografías y dibujos que amplía B) Profundas cinéticas: sobre plástico (plexiglás) en planchas pintadas y yuxtapuestas dejando una pequeña distancia. C) unidades plásticas blancas y negras: cuadrado, rombo, circulo y elipse.

1959-1964: “Folklore planetario”

1964: “homenaje al Hexágono”

Último período: “período de las series” C.T.A: nombre de las ondas que producen los planetas y estrellas, círculos y colores plata, oro y sombreados.

Su trabajo le dio fama internacional y recibió varios premios prestigiosos.

En 1976 crea un centro de investigación arquitectónica en Aix-en-Provence y dos museos “didácticos” Vasarely, en Gordes adonde fue llevado por Jean Deyrolle (1970) y enHungría en Pécs (1976).

Durante la década de 1970 abandonó el cuadro de caballete en beneficio de un arte total que encontraría su ideal en la integración con la arquitectura, y la relojeria. Fundó, durante los años setenta, tres lugares destinados a la exposición de su obra y de sus concepciones en Gordes, Aix-en-Provence y Pécs. Plasti-cité, su obra teórica más importante, fue publicada en 1970. Murió en 1997 a los 91 años.

El museo Vasarely en Hungría contiene una importante colección de sus obras, así como de otros muchos artistas de origen húngaro que han trabajado en el extranjero. Es el padre del artista Yvaral, autor de obras de ese mismo estilo.

Vasarely, Murío en Paris el 15 de Marzo de 1997


http://www.vasarely.com/

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VICTOR VASARELY

Victor Vasarely deserves separate mention, since it is not a watchmaker, but a great pictorial artist.

Most of the great watch designers in the 70s aint watchmakers, in the period, most artist wanted to break trough with conventionalisms,

and there where Some Succesfull designers, Architects, and famous artists translating their art and concepts to the world of watchmaking.

In the gallery you can contemplate,  several of his designs as watch designer, with Cubists Dials, and hexagonal shapes,

One can love his style to death, or be totally repelled…. As happens with most of the 70 designs of the era,

(see Panton Eames and the likes from the space age).

 

But certainly his small collection of watches is highly valued today in the world of watch collectors.

Vasarely was born in Pécs and grew up in Piešťany (then Pöstyén) and Budapest where in 1925 he took up medical studies at Budapest University. In 1927 he abandoned medicine to learn traditional academic painting at the private Podolini-Volkmann Academy. In 1928/1929, he enrolled at Sándor Bortnyik’s műhely (lit. “workshop”, in existence until 1938), then widely recognized as the center of Bauhaus studies in Budapest. Cash-strapped, the műhely could not offer all that the Bauhaus offered. Instead it concentrated on applied graphic art and typographical design.

In 1929 he painted his Blue Study and Green Study. In 1930 he married his fellow student Claire Spinner (1908–1990). Together they had two sons, Andre and Jean-Pierre. In Budapest, he worked for a ball-bearings company in accounting and designing advertising posters. Victor Vasarely became a graphics designer and a poster artist during the 1930s who combined patterns and organic images with each other.

Vasarely left Hungary and settled in Paris in 1930 working as a graphic artist and as a creative consultant at the advertising agencies Havas, Draeger and Devambez (1930–1935). His interactions with other artists during this time were limited. He played with the idea of opening up an institution modeled after Sándor Bortnyik’s műhely and developed some teaching material for it. Having lived mostly in cheap hotels, he settled in 1942/1944 in Saint-Céré in the Lot département. After the Second World War, he opened an atelier in Arcueil, a suburb some 10 kilometers from the center of Paris (in the Val-de-Marne département of the Île-de-France). In 1961 he finally settled in Annet-sur-Marne (in the Seine-et-Marne département).

Vasarely eventually went on to produce art and sculpture mainly focused around the area of 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. His early graphic period results in works such as Zebras (1937), Chess Board (1935), and Girl-power (1934).

1944-1947: Les Fausses Routes – On the wrong track: During this period, Vasarely experimented with cubistic, futuristic, expressionistic, symbolistic and surrealistic paintings without developing a unique style. Afterwards, he said he was on the wrong track. He exhibited his works in the gallery of Denise René (1946) and the gallery René Breteau (1947). Writing the introduction to the catalogue, Jacques Prévert placed Vasarely among the surrealists. Prévert creates the term imaginoires (images + noir, black) to describe the paintings. Self Portrait (1941) and The Blind Man (1946) are associated with this period.

1947-1951: Developing geometric abstract art (optical art): Finally, Vasarely found his own style. The overlapping development are named after their geographical heritage. Denfert refers to the works influenced by the white tiled walls of the Paris Denfert – Rochereau metro station. Ellipsoid pebbles and shells found during a vacation in 1947 at the Breton coast at Belle Île inspired him to the Belles-Isles works. Since 1948, Vasarely usually spent his summer months in Gordes in Provence-Alpes-Côte d’Azur. There, the cubic houses led him to the composition of the group of works labelled Gordes/Cristal. He worked on the problem of empty and filled spaces on a flat surface as well as the stereoscopic view.

1951-1955: Kinetic images, black-white photographies: From his Gordes works he developed his kinematic images, superimposed acrylic glass panes create dynamic, moving impressions depending on the viewpoint. In the black-white period he combined the frames into a single pane by transposing photographies in two colours. Tribute to Malevitch, a ceramic wall picture of 100 m² adorns the University of Caracas, Venezuela which he co-designed in 1954 with the architect Carlos Raúl Villanueva, is a major work of this period. Kinetic art flourished and works by Vasarely, Calder, Duchamp, Man Ray, Soto, Tinguely were exhibited at the Denise René gallery under the title Le Mouvement (the motion). Vasarely published his Yellow Manifest. Building on the research of constructivist and Bauhaus pioneers, he postulated that visual kinetics (plastique cinétique) relied on the perception of the viewer who is considered the sole creator, playing with optical illusions.

1955-1965: Folklore planétaire, permutations and serial art: On 2 March 1959, Vasarely patented his method of unités plastiques. Permutations of geometric forms are cut out of a coloured square and rearranged. He worked with a strictly defined palette of colours and forms (three reds, three greens, three blues, two violets, two yellows, black, white, gray; three circles, two squares, two rhomboids, two long rectangles, one triangle, two dissected circles, six ellipses) which he later enlarged and numbered. Out of this plastic alphabet, he started serial art, an endless permutation of forms and colours worked out by his assistants. (The creative process is produced by standardized tools and impersonal actors which questions the uniqueness of a work of art.) In 1963, Vasarely presented his palette to the public under the name of Folklore planetaire.

1965-: Hommage à l’hexagone, Vega: The Tribute to the hexagon series consists of endless transformations of indentations and relief adding color variations, creating a perpetual mobile of optical illusion. In 1965 Vasarely was included in the Museum of Modern Art exhibition “The Responsive Eye,” created under the direction of William C. Seitz. His Vega series plays with spherical swelling grids creating an optical illusion of volume. In October 1967, designer Will Burtin invited Vasarely to make a presentation to Burtin’s Vision ’67 conference, held at New York University.

On 5 June 1970, Vasarely opened his first dedicated museum with over 500 works in a renaissance palace in Gordes (closed in 1996). A second major undertaking was the Foundation Vasarely in Aix-en-Provence, a museum housed in a distinct structure specially designed by Vasarely. It was inaugurated in 1976 by French president Georges Pompidou. Sadly the museum is now in a state of disrepair, several of the pieces on display have been damaged by water leaking from the ceiling. Also, in 1976 his large kinematic object Georges Pompidou was installed in the Centre Pompidou in Paris and the Vasarely Museum located at his birth place in Pécs, Hungary, was established with a large donation of works by Vasarely. In the same decade, he took a stab at industrial design with a 500-piece run of the upscale Suomi tableware by Timo Sarpaneva that Vasarely decorated for the German Rosenthal porcelain maker’s Studio Linie. In 1982 154 specially created serigraphs were taken into space by the cosmonaut Jean-Loup Chrétien on board the French-Soviet spacecraft Salyut 7 and later sold for the benefit of UNESCO. In 1987, the second Hungarian Vasarely museum was established in Zichy Palace in Budapest with more than 400 works.

He died in Paris on 15 March 1997.


http://www.vasarely.com/

4 comentarios

  1. BRETT

    His style reached maturity in the mid 1950s and 1960s with the use of more vibrant colours to increase the sense of movement through optical illusion as in Sirius II 1954 and he became one of the leading figures of the movement…

    25 febrero, 2011 en 6:02

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