Victor Vasarely, ‘Vasarely Paris-Tokyo’, 1980, Waddington's
Victor Vasarely, ‘Vasarely Paris-Tokyo’, 1980, Waddington's
Victor Vasarely, ‘Vasarely Paris-Tokyo’, 1980, Waddington's
Victor Vasarely, ‘Vasarely Paris-Tokyo’, 1980, Waddington's
Victor Vasarely, ‘Vasarely Paris-Tokyo’, 1980, Waddington's
Victor Vasarely, ‘Vasarely Paris-Tokyo’, 1980, Waddington's
Victor Vasarely, ‘Vasarely Paris-Tokyo’, 1980, Waddington's
Victor Vasarely, ‘Vasarely Paris-Tokyo’, 1980, Waddington's
Victor Vasarely, ‘Vasarely Paris-Tokyo’, 1980, Waddington's
Victor Vasarely, ‘Vasarely Paris-Tokyo’, 1980, Waddington's

Sheets 22.5" x 22" — 57.15 x 55.9 cm.

With dark blue cover and gilt lettered title, the justification page, signed and numbered “FV 11/15” in pencil, each print signed and numbered “FV 11/15” in pencil to margins

Printed by Atelier Duval, Paris
Published by Nantenshi Gallery, Tokyo and Inter-Continental Art Agency, Ltd, Vancouver
Aside from the edition of 75

Prominent Toronto Gallery

About Victor Vasarely

Considered one of the progenitors of Op Art for his optically complex and illusionistic paintings, Victor Vasarely spent the course of a long, critically acclaimed career seeking, and arguing for, an approach to art making that was deeply social. He placed primary importance on the development of an engaging, accessible visual language that could be universally understood—this language, for Vasarely, was geometric abstraction, more commonly known as Op Art. Through precise combinations of lines, geometric shapes, colors, and shading, he created eye-popping paintings, full of the illusion of depth, movement, and three-dimensionality. More than pleasing tricks for the eye, Vasarely insisted, “pure form and pure color can signify the world.”

Hungarian-French, 1906-1997, Pécs, Hungary, based in Paris, France