Tribute to the hexagon period

Tribute to the hexagon period

From 1964 to 1976, Vasarely was particularly interested in the cellular structure in a series of works entitled “Homage to the Hexagon” where the reliefs are perceived in constant transformation, sometimes in hollow, sometimes in relief. The ambiguity is accentuated by the contribution of colored scales creating a “perpetuum mobile in trompe l’oeil”, thus returning to the field of optics that he had approached with his black and white period. Then came the “Gestalt” period, an architectural period among all others, inspired by the gestalt phenomenon. In 1965, he participated in the “Responsive Eye” exhibition at the Museum of Modern Art in New York, dedicated to Optical Art. This movement was concerned with suggesting movement without ever really realizing it. It institutes new relations between the spectators and the work by provoking the active participation of the spectator. The spectator is free to interpret the image in as many visual situations as he can conceive. By the success of this new trend, the press and the public consecrate Vasarely as the inventor of “optical art”.

1976, 69,2×59,9 cm

1972, 59,5×51 cm

1986, 66,1×60,1cm

1980, 73,2×63 cm

1973, 72,2×61,6 cm

1971, 547×527 cm