Vasarely Tigers

Vasarely Tigers
Vasarely Tigers
Anonim

This work by Victor Vasarely is one of the most emblematic of his entire production, and for many scholars of contemporary art, is considered one of the most influential antecedents in the current Op Art, an avant-garde movement that emerged in the 1960s, and yet this workTigers, Vasarely already painted it in 1938.

Vasarely's Tigers

Vasarely Tigers

In fact, Vasarely by that time had already been creating a series of works for a few years in which he sought visual stimuli in black and white promoted from checkerboard compositions, or with figures of tigers, as in this case, or zebras, in which those checkered patterns become striped patterns. And it is curious to compare these works with others by the great exponent of Op Art such asRileyand some of his works such as Cascada

But going back to those initial works by Vasarely, in all of them there is already that characteristic optical ambiguity and disorientation that will never be lost in other later works such as Feni.

And although, in Feni everything is much more arithmetic and mathematical, in his work Tigres we still see a minimal relationship with the nature, as its thick-striped fire is still based on the body shapes of tigers. Of course, some twisted bodies, which are closed in on themselves and facing each other.

You have to value these types of images not seeing them through the eyes of a 21st century viewer, when this type of visual games can practically be created automatically, by means of computer programs. However, let's appreciate that a painting like this and many other subsequent productions, both Op Art and its relative Kinetic Art, are works made entirely by hand.

Something very interesting to see that on many occasions these artistic styles have been described as a type of art created basically to stupefy the human eye, something really difficult by exclusively manual means, with which identical schemes have to be achieved and repetitive that generate visual tensions and especially tensions in the mind. That is to say, in some way these painters had to have something of a visionary, so that with their painting they would be able to generate the illusion of movement in the eye and mind of others. And all this in two dimensions, and we repeat, completely manually.

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