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Original screenprint in colors on wove paper - Hand Signed by Vasarely in Pencil - Published by Editions Denise René, Paris. // Viva by Victor Vasarely is a 1974 limited edition screen-print that masterfully utilizes geometric forms and bold colors to create a striking optical effect. The composition is divided into two halves: one featuring distorted rectangles in blue and green, and the other composed of vibrant ovals in red and blue. The design appears to warp and recede into space, creating an illusion of depth and curvature. Vasarely's precise use of contrasting shapes and colors plays with the viewer's perception, making the flat surface seem dynamic and multidimensional. Hand-signed in pencil, this work exemplifies his contribution to the Op Art movement.
Viva, 1974
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Medium
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77.5 x 77.5 cm
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Details
Artist
Styles
Original screenprint in colors on wove paper - Hand Signed by Vasarely in Pencil - Published by Editions Denise René, Paris. // Viva by Victor Vasarely is a 1974 limited edition screen-print that masterfully utilizes geometric forms and bold colors to create a striking optical effect. The composition is divided into two halves: one featuring distorted rectangles in blue and green, and the other composed of vibrant ovals in red and blue. The design appears to warp and recede into space, creating an illusion of depth and curvature. Vasarely's precise use of contrasting shapes and colors plays with the viewer's perception, making the flat surface seem dynamic and multidimensional. Hand-signed in pencil, this work exemplifies his contribution to the Op Art movement.
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What is geometric abstract art?
Geometric abstraction is a form of abstract art that uses geometric shapes arranged in a non-illusionistic space (though not always) and combined into non-representational (non-objective) compositions. Based on years of artistic research, some artists have proposed that geometric abstraction offers a solution to modern challenges by rejecting traditional illusionistic practices in favor of clarity and simplicity.
