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Journal articles on the topic 'Victor de Vasarely'

Author: Grafiati

Published: 12 December 2022

Last updated: 31 July 2025

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1

Galaty, James. "Layers of Illusions: John Rea’s Hommage à Vasarely." Circuit 17, no. 2 (2007): 107–20. http://dx.doi.org/10.7202/016844ar.

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Can lines be heard? Curves? Trajectories? Shapes? These are the questions Canadian composer John Rea asks us in his Hommage à Vasarely (1976), inspired by the work of the Op-Art painter Victor Vasarely. Rea’s work attempts to transfer into sound the ‘optical kinetic’ illusions of movement, bending, and twisting that Vasarely projected onto two dimensions. The lines, shapes, and patterns embedded in the music are best illustrated through score excerpts, pitch-reduction examples and charts schematically displaying the use of the orchestra. Through an understanding of how Rea transfers these geom

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2

Taboada, Jorge. "Alta Densidad." Bitácora arquitectura, no. 38 (September 17, 2018): 68. http://dx.doi.org/10.22201/fa.14058901p.2018.38.67066.

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<p>En este proyecto rescato cuidadosamente del caos de la ciudad,<br />aquellos lugares que puedo ordenar. Selecciono los grandes<br />fraccionamientos nuevos de los municipios dormitorios, que por<br />su extensión y características físicas me proporcionan un placer<br />visual, como el de disfrutar de un cuadro de Victor Vasarely.</p>

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3

Begić Jarić, Majda, and Marta Budicin Munišević. "Susret s ocem op-arta Victorom Vasarelyjem, restauratorska i povijesno-umjetnička istraživanja te konzervatorsko-restauratorski radovi na kolažu Barson." Portal, no. 13 (December 30, 2022): 103–16. http://dx.doi.org/10.17018/portal.2022.6.

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Otac op-arta Victor Vasarely autor je kolaža od papira naziva Barson u vlasništvu Muzeja suvremene umjetnosti u Zagrebu što je jedini takav primjerak u hrvatskim javnim ustanovama u kulturi. Kolaž je nastao 1967. godine tehnikom sitotiska na papiru lijepljenom na papirnatu podlogu i potom na lesonit velikih dimenzija, a na njegov su nastanak utjecali onodobni vodeći objektivistički umjetnički i filozofski pravci i spoznaje pod čijim je utjecajem Vasarely stvarao svoja djela. Kolaž je zatečen vrlo prašnjav i s mnogim oštećenjima po cijeloj površini papirnatog nosioca, poput krakelira, rasušenih

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4

Almeida, Bernardo Pinto de. "Nadir ou a pintura como pura sugestão." Revista Visuais 4, no. 7 (2018): 14–23. http://dx.doi.org/10.20396/visuais.v4i2.12122.

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Na história da arte do século XX em Portugal, o nome de Nadir Afonso ascende, merecidamente, ao mais alto cume, e a passagem do tempo apenas o vem confirmando. Não apenas, e desde logo, por ter sido um dos pioneiros da arte abstracta feita entre nós, ao lado de Fernando Lanhas e de poucos mais, como sobretudo pela imensa originalidade do seu trabalho plástico. Ao que se deveria juntar também o reconhecimento internacional que, desde muito cedo, o seu trabalho mereceu, ao ser convidado a expor em Paris numa das galerias marcantes na divulgação das neo-vanguardas europeias da década de cinquenta

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5

Kim, Min-Hye, and Hye-Won Park. "A Study on the Travel Fashion Bag Design Using the Op-Art Textile Patterns -Applying the Artwork of Victor Vasarely-." Journal of the Korean Society of Clothing and Textiles 35, no. 3 (2011): 371–84. http://dx.doi.org/10.5850/jksct.2011.35.3.371.

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6

Ivanova, A. S., and D. Fink. "METHODS OF FORMATION OF VISUAL EFFECTS IN THE WORKS OF VICTOR VASARELY APPLIED TO THE DESIGN OF URBAN ENVIRONMENTS." Journal «Izvestiya vuzov. Investitsiyi. Stroyitelstvo. Nedvizhimost» 8, no. 4 (2018): 218–33. http://dx.doi.org/10.21285/2227-2917-2018-4-218-233.

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7

Komorowski, Wiktor. "Hard Ground-Soft Politics: The Biennial of Graphic Arts in Ljubljana and Biting of the Iron Curtain." Humanities 7, no. 4 (2018): 97. http://dx.doi.org/10.3390/h7040097.

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In 1955, the Ljubljana Biennial of Graphic Arts was founded. It was the first curatorial initiative that aimed to link graphic artists working around the world and with those divided by the Cold War. The Ljubljana Biennial became a major success and its model quickly spread worldwide, augmenting the international circulation of prints and exchanges of artistic concepts. Over the next twenty years similar exhibitions were established in Krakow, Tallinn, San Juan, Santiago de Chile, Cali, Tokyo, Cairo, Fredrikstad, Frechen, Sofia and Bradford. The Ljubljana Biennial of Graphic Arts offered an op

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8

Shapley, Robert, and Marianne Maertens. "Angle Alignment Evokes Perceived Depth and Illusory Surfaces." Perception 37, no. 10 (2008): 1471–87. http://dx.doi.org/10.1068/p5987.

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There is a distinct visual process that triggers the perception of illusory surfaces and contours along the intersections of aligned, zigzag line patterns. Such illusory contours and surfaces are qualitatively different from illusory contours of the Kanizsa type. The illusory contours and surfaces in this case are not the product of occlusion and do not imply occlusion of one surface by another. Rather, the aligned angles in the patterns are combined by the visual system into the perception of a fold or a 3-D corner, as of stairs on a staircase or a wall ending on a floor. The depth impression

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9

Toribio, Jesús. "Hierarchical microstructure evolution in cold drawn pearlitic steels: In the conceptual frame of Fray Luis de León, Miguel de Cervantes, Victor Vasarely, Maurits Cornelis Escher & Johann Sebastian Bach." Procedia Structural Integrity 26 (2020): 348–53. http://dx.doi.org/10.1016/j.prostr.2020.06.044.

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10

الحربي, روان لافي فلاج, غيداء عبدالله إبراهيم القريش, لمى عبدالعزيز حسين الهذلول та رشا عباس محمد الجوهري. "معالجات تصميمية لملابس السهرة في ضوء القيم التشكيلية لأعمال الفنان فيكتور فازاريللي باستخدام فن الخلل الرقمي. Design Treatments for Evening wear in the Light of the Plastic Values of the works of the Artist Victor Vasarely Using the art of Digital Imbalance." المجلة العلمية لعلوم التربية النوعية 20, № 20 (2024): 1504–36. https://doi.org/10.21608/sjsep.2024.397213.

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11

Brakebusch, Kristina, and Börries Brakebusch. "Art and architecture separated. Homeless art: The case of a wallpainting by Victor Vasarély." Studies in Conservation 61, sup2 (2016): 267–68. http://dx.doi.org/10.1080/00393630.2016.1196567.

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12

Dresp-Langley, Birgitta, and Adam Reeves. "Color for the perceptual organization of the pictorial plane: Victor Vasarely's legacy to Gestalt psychology." Heliyon 6, no. 7 (2020): e04375. http://dx.doi.org/10.1016/j.heliyon.2020.e04375.

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13

Fariat, Axelle. "Victor Vasarely, Notes brutes." Critique d’art, May 9, 2018. http://dx.doi.org/10.4000/critiquedart.25525.

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14

Alix, Frédéric. "Victor Vasarely : de l’œuvre peint à l’œuvre architecturé." Critique d’art, April 18, 2014. http://dx.doi.org/10.4000/critiquedart.12744.

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15

Begić Jarić, Majda, and Marta Budicin Munišević. "Encounter with the Father of Op Art, Victor Vasarely: Research in Conservation and Art History, and Conservation Work on the Barson Collage." Journal of Paper Conservation, December 19, 2023, 1–17. http://dx.doi.org/10.1080/18680860.2023.2289788.

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16

Adrian, Kohn. "Judd on Phenomena, Rutgers Art Review, vol. 23, 2007, pp. 79–99." June 9, 2017. https://doi.org/10.5281/zenodo.804544.

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Donald Judd’s 1964 essay 'Specific Objects' probably remains his most well-known. In it, he described new artworks characterized by, among other features, 'a quality as a whole' instead of conventional 'part-by-part structure,' the 'use of three dimensions' and 'real space' as opposed to depiction, 'new materials [that] aren’t obviously art,' and the unadorned appearance and 'obdurate identity' of materials as they are. Judd held that the 'shape, image, color and surface' of these objects were more 'specific,' that is to say, 'more intense, clear and powerful,' than in previous art. While thes

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