Cell 3

Cell 3

Even if the integrations were made especially for the Foundation, they all result from the same starting point: “the prototype-start”, a working method used by the artist. From a “completed” work that he creates either in acrylic or by collage, it will then undergo a resurgence. Each work will be multiplied (hence the term “multiples” to describe them).

Between 1954 and 1960, Vasarely devoted himself to black and white and oriented his research towards linear networks and undulatory deformations. This work around black and white allows him to bring out a striking contrast and to initiate a movement in the work created by our eyes.

The “Photographisms” of 1951 and his interest in printing also led to experiments with the line and the point.

He enlarged his old linear drawings photographically to bring them to wall scale. In this way, the slightest movement of the spectator placed in front of them produces movement.

In this room, the works integrate different materials coming from the world of industry and craft: enamels of Briare, ceramics of Delft, or aluminium.

The use of these different materials also shows the heritage of the Bauhaus in Budapest, the school where Vasarely studied between 1929 and 1930.



MANIPUR (n° 108) is the demonstration of this work on linear deformations. The forms emerge from the bottom. The simple undulation of the white lines generates a volume.

TLINKO (n°112), the static elements, the squares, are juxtaposed with the more dynamic elements, the rhombuses. Whether they are simple squares placed on their points or squares put in rotation, one has the impression of movement. This work, which is part of the series called “Corpusculars” is essential. It marks the turning point towards kineticism. Vasarely presents it as a tribute to the Russian painter Malevitch and his 1913 turning point “Black square on white background”.

MANIPUR, Victor Vasarely, 1952, 644×535 cm