Abstract
The authors analyze Victor Vasarely’s works from the viewpoints of the theory of visual perception, mathematics and modularity. The chapter concludes that almost all construction methods, modular elements, optical effects and visual illusions belonging to these fields were (re)discovered by Vasarely, mostly by intuition, creative visual thinking and experimenting, and then used in his artworks.
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Notes
- 1.
See Donald MacKay`s figure at http://popgive.blogspot.rs/2008/12/examples-of-kinetic-illusions-in-op-art.html. Retrieved on 30 January 2017.
- 2.
See Akiyoshi Kitaoka’s works at www.ritsumei.ac.jp/~akitaoka/index-e.html. Retrieved on 1 August 2016.
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Acknowledgements
This chapter is the result of an international cooperation project launched within the framework of the Bridges Pécs 2010 World Conference, organized as part of the Pécs2010—European Capital Culture Program. We are thankful for diverse support of Kristóf Fenyvesi (Experience Workshop, Bridges Organization) and the Janus Pannonius Museum in Pécs, for which the museum’s former and current directors Dr. Júlia Fabényi and Judit W. Müller and their colleagues deserve special acknowledgement. A short version of this chapter has been published in Bridges Pécs, Conference proceeding of Bridges: Mathematical Connections in Art, Music, and Science held 24–28 July 2010 in Pécs, Hungary, edited by George W. Hart and Reza Sarhangi. Phoenix: Tessellations Publishing, 2010, 127–134.Victor Vasarely´s artworks are included in the chapter with the kind permission of Janus Pannonius Museum’s Vasarely Museum, Pécs, Hungary.
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Jablan, S., Radović, L. (2017). The Vasarely Playhouse: Invitation to a Mathematical and Combinatorial Visual Game. In: Fenyvesi, K., Lähdesmäki, T. (eds) Aesthetics of Interdisciplinarity: Art and Mathematics. Birkhäuser, Cham. https://doi.org/10.1007/978-3-319-57259-8_7
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