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"Planeta"

by Victor Vasarely


Hand Signed and Numbered by the artist





Marks under the mat



Creases

 


Image





"Planeta"

Unframed


Limited Edition Serigraph

Matted, not framed

Hand signed by the artist

Mat Size: 32" x 32"

Image Size: 23" x 23"

Edition Number: 8/175

Circa 1972

Condition: There is mat burn around the outside of the image. There are a couple of spots with really little creases (see photos above).

100 percent guarantee of authenticity

Certificate of Authenticity is included

Gallery Retail: $2,500.00 (unframed)


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Shipping Info :

Buyer pays $22.00 shipping within the continental USA. If outside the continental USA buyer will be notified by invoice of shipping and insurance. We can ship without the mat for $14 but you need to let us know when you purchase the artwork that you do not want the mat. Buyers in the Denver area can make arrangements for pick-up (local taxes apply).

International buyers:

Shipping Notice :

Shipping is provided by experts in handling the transportation of fine art. The price includes pick up, professional packaging/crating, insurance for the actual sale price, and delivery to your door. If plexiglass is included on your matted artwork it is for protection during shipping and will probably need to be replaced when framing.


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VICTOR VASARELY (1906-1997)

Victor Vasarely (I906-1997) is internationally recognized as one of the most important artists of the 20th century. He is the acknowledged leader of the Op Art movement, and his innovations in color and optical illusion have had a strong influence on many modern artists.

In 1947, Vasarely discovered his place in abstract art. Influenced by his experiences at Breton Beach of Belle Isle, he concluded that "internal geometry" could be seen below the surface of the entire world. He conceived that form and color are inseparable. "Every form is a base for color, every color is the attribute of a form." Forms from nature were thus transposed into purely abstract elements in his paintings. Recognizing the inner geometry of nature, Vasarely wrote, "the ellipsoid form ... will slowly, but tenaciously, take hold of the surface, and become its raison d'etre. Henceforth, this ovoid form will signify in all my works of this period, the 'oceanic feeling'...l can no longer admit an inner world and another, an outer world, apart. The within and the without communicate by osmosis, or, one might rather say: the spatial-material universe, energetic-living, feeling-thinking, form a whole, indivisible ... The languages of the spirit are but the super vibrations of the great physical nature."

Vasarely was born in Pecs, Hungary in 1906. After receiving his baccalaureate degree in 1925, he began studying art at the Podolini-Volkmann Academy in Budapest. In 1928, he transferred to the Muhely Academy, also known as the Budapest Bauhaus, where he studied with Alexander Bortnijik. At the Academy, he became familiar with the contemporary research in color and optics by Jaohannes ltten, Josef Albers, and the Constructivists Malevich and Kandinsky.

After his first one-man show in 1930, at the Kovacs Akos Gallery in Budapest, Vasarely moved to Paris. For the next thirteen years, he devoted himself to graphic studies. His lifelong fascination with linear patterning led him to draw figurative and abstract patterned sub .ects, such as his series of harlequins, checkers, tigers, and
zebras. During this period, Vasarely also created multi-dimensional works of art by super-imposing patterned layers on one another to attain the illusion of depth.

In 1943, Vasarely began to work extensively in oils, creating both abstract and figurative canvases. His first Parisian exhibition was the following year at the Galerie Denise Rene that he helped found. Vasarely became the recognized leader of the avant-garde group of artists affiliated with the gallery.

During the 1950's, Vasarely wrote a series of manifestos on the use of optical phenomena for artistic purposes. Together with his paintings, these were a significant influence on younger artists. According to the artist, "In the last analysis, the picture-object in pure composition appears to me as the last link in the family paintings,' still possessing by its shining beauty, an end in itself. But it is already more than a painting, the forms and colors which compose it are still situated on the plane, but the plastic event which they trigger fuses in front of and in the plane. It is an end, but also a beginning, a kind of launching pad for future achievements."