SKU: 44575063387

‘COMPOSITION WITH RED, YELLOW AND GREEN’ BY VICTOR VASARELY (1980)

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‘COMPOSITION WITH RED, YELLOW AND GREEN’ BY VICTOR VASARELY (1980)A late career work by Hungarian French artist VICTOR VASARELY (19061997), grandfather of the Op Art movement. The piece exemplifies his theory of visual kinetics, using a mix of vibrant colors and rigid geometric patterns to create a powerful illusion of movement and depth. The colorful squares within squares represent a modular "alphabet" for Vasarely, that can be systematically rearranged to produce an infinite number of compositions. He believed

A late-career work by Hungarian-French artist VICTOR VASARELY (1906–1997), grandfather of the Op Art movement. The piece exemplifies his theory of “visual kinetics,” using a mix of vibrant colors and rigid geometric patterns to create a powerful illusion of movement and depth. The colorful squares-within-squares represent a modular "alphabet" for Vasarely, that can be systematically rearranged to produce an infinite number of compositions. He believed that such work would transcend cultural boundaries and be universally understood. The use of serigraphs reflected a related objective, allowing him to "democratize" his art—by making it accessible to and affordable for a wider audience. Signed in pencil and numbered 178/250.


VICTOR VASARELY (1906–1997) was a French-Hungarian painter, commonly regarded as a pioneering figure of the 20th century's Op Art movement. He created eye-popping geometric abstractions that play with the viewer’s perception of depth, perspective, and motion, and his innovations in color and illusion have had tremendous impact on subsequent generations of artists. His 1937 oil on canvas, Zebra, consisting of undulating black and white stripes that suggest the entire form of the titular animals, is often cited as the earliest example of an Op-Art painting.

Born as Győző Vásárhelyi in the city of Pécs in southwestern Hungary, he pursued medical studies for two years at the University of Budapest. He abandoned this path in favor of a career in the visual arts, but his scientific education had a lasting and obvious impact on his systematic methodology. In 1929, he transferred to the Muhely Academy in Budapest, known as the “Budapest Bauhaus,” where he concentrated on graphic design and typography.

In 1930, Vasarely moved to Paris, working as a graphic artist with various advertising agencies to support himself. During this formative period, he experimented with the optical effects that would ultimately define his mature style, and the graphic work he produced investigated the influences of perspective and light.

After WWII, Vasarely opened a studio near Paris and increasingly focused on his fine art. From 1944 to 1947, he explored Cubism, Expressionism, and Surrealism, but he would eventually come to see these as “Les Fausses Routes” (false roads, or “wrong tracks”). It was only when he fully committed to developing his own unique voice (from 1947 to 1951) that he hit upon his distinctive geometric abstract style, drawing inspiration from such diverse sources as the tiled walls of the Paris Metro, pebbles on a Brittany beach, and the terraced stone houses of Gordes in Provence. At the same time, he developed an interest in integrating art and architecture. He incorporated his geometric visions into large-scale works for public spaces, such as the ceramic mural he designed for the Ciudad Universitaria de Caracas in 1954.

In 1955, Vasarely wrote his influential “Yellow Manifesto” for the landmark exhibition Le Mouvement at Paris’s Galerie Denise René, wherein he laid out his theories on “visual kinetics.” He proposed that works of art could create truly dynamic experiences without themselves physically moving. His international reputation as the central figure of the Op-Art movement was solidified in 1965 by MoMA's exhibition, The Responsive Eye, in New York City. Vasarely’s geometric abstractions were a defining part of the “psychedelic” aesthetic.

During the 1960s, Vasarely developed and patented a system of interchangeable geometric shapes and colors, which he termed a “plastic alphabet,” whose units were simple variations of squares, circles, and triangles in a limited, but expandable, color palette. He used it to create his “Folklore Planetaire” series, complex optical illusions that were intended to serve as a visual language. (One early design from the series was featured on the original 1969 UK release of David Bowie's sophomore album.) In 1972, he collaborated with his son Jean-Pierre “Yvaral” Vasarely (1934–2002) to redesign the logo for the French car manufacturer Renault.

Vasarely received numerous honors during his lifetime, including the Guggenheim Prize in 1964 and, in 1976, appointment as a French Knight of the Legion of Honor. That same year, Vasarely established an eponymous foundation in Aix-en-Provence, France, to promote his legacy. Following this, museums dedicated to his artworks were opened in his hometown of Pécs (1976) and in Budapest (1987).

He died in Paris at the age of 90. Apart from his distinctive art, he played a prominent role in the democratization of art, through, on the one hand, its architectural integration, and, on the other, the mass production of prints.


Pure form and pure color can signify the world. – VICTOR VASARELY


DETAILS

Artist – VICTOR VASARELY

Period – 1980

Origin – FRANCE

Styles/Movements – OP ART; SPACE AGE

Media – SERIGRAPH

Support – PAPER

Edition – 178/250

Colors – RUBY, AVOCADO, APRICOT, DARK GREEN

Condition – Excellent vintage condition. May show minor signs of previous ownership and use.

Dimensions – 33 ¼" W × 1 ¼" D × 33 ¼" H

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SKU: 44575063387

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4.5 ★★★★★
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Product Reviews
J
Verified Purchase
jk Smiles
Port Orchard, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 30, 2018
L
Verified Purchase
Lori T. Sly
Lexington, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
New York, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
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Kindle Customer
Fort Morgan, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
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Reviewed in the United States on June 12, 2017
C
Verified Purchase
cf otto
Alexandria, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016

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