Victor Vasarely (1908-1997) - Original Signed Limited Edition Silkscreen "Harlequin" 65cm x 40cm
Victor Vasarely (1908-1997) - Original Signed Limited Edition Silkscreen "Harlequin" 65cm x 40cm
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Victor Vasarely (1908-1997) - Original Signed Limited Edition Silkscreen "Harlequin" 65cm x 40cm
Rare limited edition signed vintage colour silkscreen by Victor Vasarely (1908-1997). Titled " Harlequin" this is editioned 225 or 250 from the original print series (Circa 1986-1987) and editioned lower left and hand signed lower right in pencil in the margin. The artwork is in pristine condition and framed under glass in a complementary red and blue frame with a white mat board. There is minor wear to the corners of the frame otherwise in excellent condition. This is an wonderful example of Vasarely's optical artworks and the "Harlequin" from the orignal print series will rarely come to market. Provenance; Private collector WA. Please note that this artwork is located in WA and will dispatch from Perth.
Dimensions
Image size: 65cm x 40cm
Frame size: 92cm x 63cm x 1.5cm
Bio
Victor Vasarely was born in Hungary in 1908 and died in Paris in 1997. Vasarely was the most important representative of the ephemeral optical art or Op Art movement. From 1928 to 1930, he was influenced by abstract art and Russian constructivists as well as the Budapest Bauhaus. In the era of technical reproductivity, he aspired to give a strictly scientific and theoretical basis to his art. In 1930, he moved to Paris where he worked mainly as a graphic designer. Victor Vasarely provided us with some of the most distinctive images and optical effects in 20th-century art. From his days as a commercial graphic designer in 1930s-40s Paris to his final decades developing and marketing what he hoped would become a new universal language for art and architectural design, Vasarely steered a unique course, combining virtuosic technical precision with a scientific awareness of optical and geometrical effects. He is best known for his grid-like paintings and sculptures of the 1960s onwards, which play with the reader's sense of visual form by creating illusory, flickering effects of depth, perspective, and motion. In making the act of looking one of their primary subjects, these works speak to a quintessentially modern concern with the difference between what we can see and what is really there.
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