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Victor Vasarely.Pdf Victor Vasarely Galerija Kortil / Kortil Gallery Hrvatski kulturni dom na Sušaku / Croatian Cultural Centre in Sušak Victor Vasarely Strossmayerova 1, Rijeka, Hrvatska tel: 051 377 051, 373 502 www.rijeka.hr Galerija Kortil Victor Vasarely Izložba Victor Vasarely iz Zbirke Vasarely Muzeja Janus Pannonius iz Pe~uha Exhibition of artworks by Victor Vasarely from the collection of Janus Pannonius Museum in Pécs Galerija Kortil / Kortil Gallery Hrvatski kulturni dom na Sušaku / Croatian Cultural Centre in Sušak Strossmayerova 1, Rijeka, Hrvatska Izdava~ / Publisher: Grad Rijeka, Odjel gradske uprave za kulturu / City of Rijeka, Department of Culture Za izdava~a / On behalf of the publisher: Ivanka Persi}, pro~elnica / Head of City Department of Culture Koncepcija izložbe, odabir radova i postav / Exhibition concept, artwork selection and layout: József Sárkány Asistent / Assistant: István Burján Organizacija izložbe / Organization: Jolanda Todorovi}, Plamena [arlija Tekstovi u katalogu / Essays: Victor Vasarely, József Sárkány Uvodni tekst / Introduction: mr. sc. Vojko Obersnel, gradona~elnik / Mayor Fotografije / Photographs: István Füzi Fotografija portreta / Photography of the portrait: Pierre Vasarely Prijevod / Translation: Nina Spicijari} (s ma|arskog / Hungarian), Majda Juri} (engleski / English) Lektura / Proofreading: Vi{nja Vi{nji} Karkovi} Grafi~ki dizajn pozivnice, plakata, kataloga / Graphic design of invitation card, poster, catalogue: Vesna Rožman Tisak / Print: Tiskara Zambelli, Rijeka 2009. Naklada / Copies: 500 primjeraka Izložba je ostvarena sredstvima Grada Rijeke i Ministarstva kulture RH Medijski pokrovitelj: Novi list d. d. Rijeka Zahvaljujemo Muzeju Janus Pannonius The exhibition was funded by the City of Rijeka and the Croatian Ministry of Culture Media sponsor: Novi list, Rijeka We extend our appreciation to Janus Pannonius Museum. Victor Vasarely 1. 11. 009. – 1. 1. 010. ERIDAN-OS, 1956., tempera, papir / tempera, paper, 430 x 330 mm Vasarely u Rijeci Vasarely in Rijeka Iznimno je dobar osje}aj staviti se uz bok gradovima It feels exceptionally good to be side by side to the cit- Berlinu, Stuttgartu, Rigi, Turku, Bratislavi, Aix-en-Proven- ies of Berlin, Stuttgart, Riga, Turku, Bratislava, Aix-en- cu, Osijeku, Samoboru, Istambulu, Olomoucu... koji su Provence, Osijek, Samobor, Istambul, Olomouc... that imali ~ast i zadovoljstvo ugostiti izložbu radova Victora already had the honour and pleasure of hosting the Vasarelyja, majstora i, po mnogima, oca Op-arta. exhibition of works by Victor Vasarely, the master and – according to many – father of Op-Art. Vasarely, rodom iz Pe~uha, jedan je od vode}ih umjet- nika burnog i umjetni~kim avangardama prepunog 0. Born in Pécs, Vasarely is one of the leading artists of th stolje}a. Stvorio je umjetni~ki opus koji je prepoznatljiv stormy 0 century, a period overfull with art avant- i prihva}en od najšire publike, upravo u duhu njegove gardes. He has created an art oeuvre that was recog- nized and accepted by the general audience, in the very vlastite ideje i želje za demokratizacijom umjetnosti. spirit of his own desire and wish to democratize art. Ljubaznoš}u Muzeja Janus Pannonius iz Pe~uha, koji By the courtesy of Regional Museum Janus Pannonius ~uva Zbirku Vasarely i uspješnoj suradnji s Odjelom za from Pécs, that keeps Vasarely Collection and thanks to kulturu Grada Rijeke, Rije~ani i brojni gosti imaju izni- collaboration with the City of Rijeka Department of Cul- mnu priliku uživati u ovoj kulturno-umjetni~koj poslasti- ture, the citizens of Rijeka and numerous guests have ci. Ovo je prilika da se Muzeju Janus Pannonius zahva- been provided with an outstanding opportunity to enjoy limo na spremnosti da nam ustupe vrijedna Vasare- this cultural-artistic delicacy. This is our chance to thank lyjeva djela i time omogu}e ovu izložbu, neposredno Janus Pannonius Museum for its readiness to borrow the uo~i po~etka zna~ajne manifestacije "Pe~uh – kulturna valuable Vasarely works and therefore enable this exhibi- metropola Europe 010.". tion, just before the yearlong, "Pécs – European Capital Tako|er se zahvaljujemo Ministarstvu kulture Republi- of Culture 010". ke Hrvatske na financijskoj podršci u ostvarenju ovoga We also thank the Croatian Ministry of Culture for its programa. financial support in realising this program. mr.sc. Vojko Obersnel, Vojko Obersnel, M.Sc. gradona~elnik Grada Rijeke Mayor of Rijeka NAISSANCE-N, 1951., kolaž, tuš, papir / collage,black ink, paper, 630 x 480 mm Umjetnost Victora Vasarelyja The Art of Victor Vasarely Profesionalni životni put Victora Vasarelyja zapo~inje A professional path of Victory Vasarely starts in 19 njegovim akademskim studijem u slobodnoj školi Po- with the academic study at Podolini Volkman free dolini Volkman 19. godine, a nastavlja se poha|a- school. From 198-1930 Vasarely attends lectures njem nastave u budimpeštanskom Mu“helyu (Radioni­ at Budapest Mu“helyi (Workshop) lead by Sándor ca) 198.–1930., koji je vodio Sándor Bortnyik. Ovo Bortnyik. This was not an accidental educational obrazovanje nije bilo slu~ajno, s obzirom na to da je choice, since Sándor Bortnyik was the most famous Sándor Bortnyik bio najpoznatija li~nost ma|arske personality of Hungarian avant-garde, a student and avangarde, u~enik i ma|arski promicatelj weimarsko- Hungarian promoter of Bauhaus from Weimar. Lec- tures were held at Bortnyik’s apartment and included ga Bauhausa. Predavanja su se održavala u njegovu studying the influence of Bauhaus teachers: Gropius, stanu, a nastavni je program obuhva}ao prou~avanje Van Doesburg, Lászlo Moholy-Nagy, Mondrian and De utjecaja u~itelja Bauhausa: Gropiusa, Van Doesburga, Stijl group. The lectures also analyzed the geometrical Lászla Moholy-Nagya, Mondriana te grupe De Stijl. principles of Constructivism, as well as the Wilhelm Analizirali su geometrijska na~ela konstruktivizma kao i Ostwald’s theory of four colours. The aim was to cre- teoriju Wilhelma Ostwalda o ~etiri osnovne boje. Stva- ate the contemporary, collective art that would even- rali su suvremenu, kolektivnu umjetnost s ciljem zasni- tually establish the new unique art, one interrelating vanja nove jedinstvene umjetnosti, koja bi me|usobno the work of craftsmen, engineers and artists. povezala djelovanje obrtnika, inženjera i umjetnika. Armed with such practical and theoretical prepara- S takvom prakti~nom i teorijskom pripremom Vasarely tion, in 1930 Vasarely departed for Paris. However, the je 1930. godine otputovao u Pariz, no principi i stva- principles and creative methods of Bauhaus remained rala~ke metode Bauhausa još su dugo godina u njego- hidden in his creations for many years to come. Dur- vu stvaralaštvu ostali sakriveni. Ranih tridesetih godina ing the early 1930’s he kept away from Paris modern držao se podalje i od pariških modernih umjetni~kih artistic aspirations, including the most powerful move- težnji, pa tako i od najsnažnijih pokreta, udruženja Ab­ ments such as Abstraction-Creation, though many of straction – Creation, iako su mnogi njegovi sunarodnja- his compatriots were the latter’s members. He earned ci bili njihovi ~lanovi. Zara|ivao je kreiraju}i plakate za his living by creating the posters for big advertising velike reklamne agencije te piktograme i etikete za far- agencies, as well as pictograms and labels for phar- maceutska poduze}a. Stvorio je slike, koje su u po- maceutical companies. He made paintings which, in ~etku bile nadrealno-simboli~ke i dekorativne geome- the beginning, were surrealistic – symbolistic and deco- trijske kompozicije. rative geometric compositions. Godine 194. u njegovu se slikarskom radu zbio teme- In 194 his painting experienced a radical turn – the ljiti obrat − oblici dobivaju oštre rubove, a plohe osta- forms gained sharp edges, while surfaces remained ju homogene i jednoli~no obojane. Ovo je razdoblje u homogeneous and monotonously coloured. This period Vasarelyjevom umjetni~kom životu bilo obilježeno že- in Vasarely’s art life was marked with a desire for dis- ljom za pronalaskom osobnog stvarala~kog jezika i ka- covering his own personal creative language and char- raktera. U brojnim je skicama u~vrstio svoja zapažanja, acter. Through numerous sketches he consolidated his planove, od kojih su se mnogi ostvarili tek godinama insights and plans, many of which came to be realized kasnije. U svojim se istraživanjima koncentrirao na pro- much later. His researches focused at observing the matranje prirodnih oblika – npr. valovima zaobljeno natural forms – e.g. wave-rounded stones from Belle kamenje s Belle Islea – te konstruktivnih elemenata Isle – and the constructive elements of built environ- ment such as the "crystal" contours of buildings from izgra|ene okolice npr. "kristalne" konture zgrada fran- a medieval French town of Gordes or processed tiles cuskoga srednjovjekovnoga gradi}a Gordesa ili plo~ice from a wall of Denfert metro station in Paris. na zidu pariške metro-stanice Denfert. He also studied optical-psychological art by Josef Prou~avao je i opti~ko-psihološku umjetnost Josefa Al- Albers and psychological explorations from the end bersa te psihološka istraživanja s kraja 19. st. − Gesta- of the 19th century, such as Gestalt psychology that lt-psihologiju koja je analizirala posebne odnose izme|u analyzed special relations between visual perception vizualnoga zapažanja i svjesnosti. and consciousness. "...Otvor je isti" – gledano izvana – izgleda kao nedo­ ".... The opening is the same – seen from the outside ­ ku~iva, bestjelesna crna kocka. U bezobzirnoj
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