Les éléments de la plastique cinétique\u003Cbr />Galerie Denise René, 1955 \u003C/p>","1955",[352],{"id":353,"url":354,"webp200":355,"webp400":356,"webp800":357,"webp1200":358,"webp1800":359,"webp2400":360,"webp3200":361,"heroLandscape":362,"heroPortrait":363,"alt":12,"title":364,"width":365,"height":366,"caption":367,"__typename":270},"4292","https://dev-admin.vasarely.com/uploads/img/1955-D-R_2025-05-06-150733_uyjz.jpeg","https://dev-admin.vasarely.com/uploads/img/_webp200/4292/1955-D-R_2025-05-06-150733_uyjz.webp","https://dev-admin.vasarely.com/uploads/img/_webp400/4292/1955-D-R_2025-05-06-150733_uyjz.webp","https://dev-admin.vasarely.com/uploads/img/_webp800/4292/1955-D-R_2025-05-06-150733_uyjz.webp","https://dev-admin.vasarely.com/uploads/img/_webp1200/4292/1955-D-R_2025-05-06-150733_uyjz.webp","https://dev-admin.vasarely.com/uploads/img/_webp1800/4292/1955-D-R_2025-05-06-150733_uyjz.webp","https://dev-admin.vasarely.com/uploads/img/_webp2400/4292/1955-D-R_2025-05-06-150733_uyjz.webp","https://dev-admin.vasarely.com/uploads/img/_webp3200/4292/1955-D-R_2025-05-06-150733_uyjz.webp","https://dev-admin.vasarely.com/uploads/img/_1920x1080_crop_center-center_60_none_ns/4292/1955-D-R_2025-05-06-150733_uyjz.webp","https://dev-admin.vasarely.com/uploads/img/_1080x1920_crop_center-center_60_none_ns/4292/1955-D-R_2025-05-06-150733_uyjz.webp","D R, 1955",1430,1374,"\u003Cp>D R, 1955\u003C/p>",{"title":369,"description":370,"textAuthor":12,"year":371,"source":12,"image":372,"index":389},"Galerie Blanche","\u003Cp>The powerful light in Vasarely's canvases is as inexorable as the tinplate of the intellect. In recent years, his art has come closer and closer to Chinese art. Shapes are in perpetual motion, the construction of the image, very complex, becomes a film of optical illusion: cubes, rectangles, stairs and straight lines are born and disappear in a larger set of shapes during the eye's circular journey over the painting. Time, the mystical fourth dimension, is an indispensable element in these cycles of images, which are impossible to grasp all at once, but which require the viewer to spend at least ten minutes contemplating them if they are to understand their most important variations. The play between pointed and obtuse, round and straight, large and small, the quantitative balance between yellow and black, for example, is simply the result of an artistic sensibility pushed to its highest point. The technique is perfect, the surfaces painted with equal thickness and the shapes clearly delineated possess an elegant perfection, which would be dangerous, if there were not in proportion a restrained and distinguished colouring (warm black, dark olive, indigo, chilli red; brilliant lemon in an obscure), as well as an intensification of all the elements of the image studied for a long time and which gives the canvas its just authority. \u003C/p>\u003Cp>Vasarely is the architect who works with volume and light, while the elements of his construction are in a constant state of metamorphosis. The man is proud, generous and expansive by nature, who once wanted to achieve maximum expression in colour by using two or three colours and a few shapes, and who now dreams of a synthesis of architecture-painting-sculpture and of large-scale distribution through reproductions, films and television showing the development of geometric-abstract art.\u003C/p>\u003Cp>The retrospective exhibition of Victor Vasarely's work at the Galerie Blanche in Stockholm, organised in collaboration with the Galerie Denise René in Paris, offers a rich and multifaceted picture of one of our most remarkable abstract painters.\u003C/p>\u003Cp>Eugen Wretholm, Svenska Morgonbladet newspaper\u003Cbr />Article about the 1956 Vasarely exhibition at Galerie Blanche, Stockholm\u003C/p>","1956",[373],{"id":374,"url":375,"webp200":376,"webp400":377,"webp800":378,"webp1200":379,"webp1800":380,"webp2400":381,"webp3200":382,"heroLandscape":383,"heroPortrait":384,"alt":12,"title":385,"width":386,"height":387,"caption":388,"__typename":270},"4295","https://dev-admin.vasarely.com/uploads/img/1956-Blanche-article-Fr_page-0001.jpg","https://dev-admin.vasarely.com/uploads/img/_webp200/4295/1956-Blanche-article-Fr_page-0001.webp","https://dev-admin.vasarely.com/uploads/img/_webp400/4295/1956-Blanche-article-Fr_page-0001.webp","https://dev-admin.vasarely.com/uploads/img/_webp800/4295/1956-Blanche-article-Fr_page-0001.webp","https://dev-admin.vasarely.com/uploads/img/_webp1200/4295/1956-Blanche-article-Fr_page-0001.webp","https://dev-admin.vasarely.com/uploads/img/_webp1800/4295/1956-Blanche-article-Fr_page-0001.webp","https://dev-admin.vasarely.com/uploads/img/_webp2400/4295/1956-Blanche-article-Fr_page-0001.webp","https://dev-admin.vasarely.com/uploads/img/_webp3200/4295/1956-Blanche-article-Fr_page-0001.webp","https://dev-admin.vasarely.com/uploads/img/_1920x1080_crop_center-center_60_none_ns/4295/1956-Blanche-article-Fr_page-0001.webp","https://dev-admin.vasarely.com/uploads/img/_1080x1920_crop_center-center_60_none_ns/4295/1956-Blanche-article-Fr_page-0001.webp","Blanche article, page 0001, 1956",1275,1650,"\u003Cp>Blanche article, page 0001, 1956\u003C/p>",2,{"title":391,"description":392,"textAuthor":12,"year":393,"source":12,"image":394,"index":411},"Jorge Romero Brest","\u003Cp>Vasarely, who has lived in Paris for many years, is, in our opinion, the most outstanding among the avant-garde painters of France.\u003C/p>\u003Cp>A direct heir to the two great artistic movements of the first half of the century, Cubism and Neo-Plasticism, Vasarely is characterized by a measured spirit of adventure, inquiry and creation, and by his wise respect for tradition.\u003C/p>\u003Cp>The visitor to this exhibition, therefore, should expect neither the cold, schematic structures of the concretes, nor the anachronistic forms of those who in some way still adhere to the themes of at least the last century. Vasarely introduces in his paintings the new spatial conception that implies the disregard of perspective (three dimensions that find their limits in the edges of the painting or in the horizon line), dynamising planes through colour, dimension, direction, or by making use of an original graphic style that enhances the backgrounds; but he does not destroy the foundations of painting and in this way, although he seeks the integration of the plastic arts, he saves the easel painting. This means, in other words, that it maintains the autonomy of pictorial expression and therefore the unity of its constituent elements, without allowing the spectator to seek it in the correlation with space, which is now necessarily architectural and not pictorial.\u003C/p>\u003Cp>One could trace the origin of such a curious manner to his early dedication to the graphic arts and also explain it by his rare speculative intelligence, but in truth it is simply, in my opinion, an unbribable quality as a painter\u003Cstrong>, \u003C/strong>thanks to which Vasarely does not go to extremes either in the reaches of planism or in those of the line, achieving in a practical way the integration he has proclaimed so much in his writings of a technical or polemical nature.\u003C/p>\u003Cp>And when I say quality of painter, I want to emphasize the condition of one who expresses himself through color, which is charged with plastic energy even in cases where only juxtaposed planes appear and which he masterfully suggests when he only uses black lines on a light background. A condition that allows him to show ‘that level at which the trivial is transformed into poetry’, to use his own words.\u003C/p>\u003Cp>After the magnificent exhibition of works by Ben Nicholson, this one by Vasarely presents to the Buenos Aires public another facet of that complex way of expressing oneself that we have come to call modern. I have no doubt that both Argentinean artists and painting enthusiasts will be able to take advantage of this magnificent lesson that this Hungarian-French artist is going to give them. We believe that, with exhibitions of such high quality as this one, the Museum continues to fulfill the didactic task it has set itself from the outset.\u003C/p>\u003Cp>And now a word of heartfelt thanks to Vasarely, for his disinterested gesture of friendship; to the important Denise René gallery in Paris, which is sponsoring the exhibition; and to the Asociación Amigos del Museo Nacional de Bellas-Artes, which quietly but tenaciously, in making it possible, collaborates with singular efficiency.\u003C/p>\u003Cp>Jorge Romero Brest\u003Cbr />Museo Nacional de Bellas Artes, Buenos Aires, 1958\u003C/p>","1958",[395],{"id":396,"url":397,"webp200":398,"webp400":399,"webp800":400,"webp1200":401,"webp1800":402,"webp2400":403,"webp3200":404,"heroLandscape":405,"heroPortrait":406,"alt":12,"title":407,"width":408,"height":409,"caption":410,"__typename":270},"4299","https://dev-admin.vasarely.com/uploads/img/1958-Buenos-Aires_2025-05-06-151406_nqau.png","https://dev-admin.vasarely.com/uploads/img/_webp200/4299/1958-Buenos-Aires_2025-05-06-151406_nqau.webp","https://dev-admin.vasarely.com/uploads/img/_webp400/4299/1958-Buenos-Aires_2025-05-06-151406_nqau.webp","https://dev-admin.vasarely.com/uploads/img/_webp800/4299/1958-Buenos-Aires_2025-05-06-151406_nqau.webp","https://dev-admin.vasarely.com/uploads/img/_webp1200/4299/1958-Buenos-Aires_2025-05-06-151406_nqau.webp","https://dev-admin.vasarely.com/uploads/img/_webp1800/4299/1958-Buenos-Aires_2025-05-06-151406_nqau.webp","https://dev-admin.vasarely.com/uploads/img/_webp2400/4299/1958-Buenos-Aires_2025-05-06-151406_nqau.webp","https://dev-admin.vasarely.com/uploads/img/_webp3200/4299/1958-Buenos-Aires_2025-05-06-151406_nqau.webp","https://dev-admin.vasarely.com/uploads/img/_1920x1080_crop_center-center_60_none_ns/4299/1958-Buenos-Aires_2025-05-06-151406_nqau.webp","https://dev-admin.vasarely.com/uploads/img/_1080x1920_crop_center-center_60_none_ns/4299/1958-Buenos-Aires_2025-05-06-151406_nqau.webp","Buenos Aires, 1958",1514,1814,"\u003Cp>Buenos Aires, 1958\u003C/p>",3,{"title":9,"description":413,"textAuthor":12,"year":414,"source":12,"image":415,"index":432},"\u003Cp>The question I've often been asked when looking at my work is: “What on earth does that mean?” Puzzled at first, over the years I've found not the answer, but the answers.\u003C/p>\u003Cp>Objectively, I work on two-dimensional compositions of color-forms or multi- dimensional structures made of intuition, science and technique, incorporating visual stimuli and intended for one of the many plastic functions of the modern city. Subjectively, they are poetic creations with sensitive qualities, capable of triggering an imaginative and emotional process in others. In this realm, of course, all interpretations or equivalents become possible.... Thus, a metaphysical halo forms around my work - which was intended to be rigorously dialectical - one that is imagined, desired and wanted by its contemplators. Personally, I feel I'm creating beings from a world apart, that of pure plastic: the genesis, birth, proliferation, complexification, perfection and functionalization of plastic structures.\u003C/p>\u003Cp>Ever since I was a boy, I've been aligning networks of lines, sometimes horizontal, sometimes vertical, sometimes crisscrossing, initially figurative, later abstract, without ever having asked myself about their origin or meaning.\u003C/p>\u003Cp>The effects caused by the creation of linear networks have become increasingly attractive: the bizarre play of moiré, the metamorphoses that take place behind twisting mesh, the vibrating strings of the cimbalom, the complex bundles of threads on looms or combing machines in spinning mills, the range of printing screens under the magnifying glass, the elusive furrows of ploughed land, the undulation of telegraph cables observed on a moving train, the gleaming rails as far as the eye can see in a marshalling yard, lines of force. ... I could go on, I'm sure I'm leaving some out, have always fascinated me.\u003C/p>\u003Cp>In 1929 at the Bortnyik Academy in Budapest, I studied linear and crossed networks, and for ten years applied and experimental graphics were my main focus. When I arrived in France, I was lucky enough to be able to admire art from the turn of the century to the present day. In certain modern paintings and inks by Paul Klee, I discovered analogies with my networks - as I did later in the work of Pevsner and in certain compositions by Albers... Is this pure coincidence?\u003C/p>\u003Cp>As early as 1948, the year I discovered “L'UNITE PLASTIQUE”, I noticed a corpuscular and an undulatory polarization of the plastic elements, and my research was split between these two major interests.\u003C/p>\u003Cp>During this crucial period, I devoured numerous books on Relativity, Wave Mechanics, Cybernetics and Astrophysics. One sentence in particular caught my attention: “Matter-energy could be considered as a distortion of space...”.\u003C/p>\u003Cp>Pure physics suddenly revealed itself before my dazzled eyes like a new poetic source. The usual landscapes disappeared, certainty and uncertainty alternated. Carried by the waves, I fled forward, sometimes towards the atom, sometimes towards the galaxies, crossing attractive or repulsive fields. Could the universe be a grandiose equation? And antimatter, the mirror-image, new realities or hypotheses? Exact science or philosophy? I think shiveringly of Plato's pre-existing ideas or Leibniz's nomads, and I continue to trace my networks.\u003C/p>\u003Cp>Victor Vasarely\u003Cbr />October 1963\u003C/p>","1963",[416],{"id":417,"url":418,"webp200":419,"webp400":420,"webp800":421,"webp1200":422,"webp1800":423,"webp2400":424,"webp3200":425,"heroLandscape":426,"heroPortrait":427,"alt":12,"title":428,"width":429,"height":430,"caption":431,"__typename":270},"4303","https://dev-admin.vasarely.com/uploads/img/Octobre-1963-Fr_2025-05-06-151656_bgfk.jpg","https://dev-admin.vasarely.com/uploads/img/_webp200/4303/Octobre-1963-Fr_2025-05-06-151656_bgfk.webp","https://dev-admin.vasarely.com/uploads/img/_webp400/4303/Octobre-1963-Fr_2025-05-06-151656_bgfk.webp","https://dev-admin.vasarely.com/uploads/img/_webp800/4303/Octobre-1963-Fr_2025-05-06-151656_bgfk.webp","https://dev-admin.vasarely.com/uploads/img/_webp1200/4303/Octobre-1963-Fr_2025-05-06-151656_bgfk.webp","https://dev-admin.vasarely.com/uploads/img/_webp1800/4303/Octobre-1963-Fr_2025-05-06-151656_bgfk.webp","https://dev-admin.vasarely.com/uploads/img/_webp2400/4303/Octobre-1963-Fr_2025-05-06-151656_bgfk.webp","https://dev-admin.vasarely.com/uploads/img/_webp3200/4303/Octobre-1963-Fr_2025-05-06-151656_bgfk.webp","https://dev-admin.vasarely.com/uploads/img/_1920x1080_crop_center-center_60_none_ns/4303/Octobre-1963-Fr_2025-05-06-151656_bgfk.webp","https://dev-admin.vasarely.com/uploads/img/_1080x1920_crop_center-center_60_none_ns/4303/Octobre-1963-Fr_2025-05-06-151656_bgfk.webp","Octobre 1963",2481,3507,"\u003Cp>Octobre 1963\u003C/p>",4,{"title":434,"description":435,"textAuthor":12,"year":436,"source":12,"image":437,"index":454},"Pace Gallery","\u003Cp>Victor Vasarely's position as the international leader of geometric abstraction was confirmed last year (1963) by the exhibition of his work at the Musée des Arts Décoratits, Palais du Louvre, Paris, an honor accorded few living artists. He has maintained a pivotal position in the continuing development of the abstract-geometric tradition by serving as a great source of inspiration for the accomplishments of a younger generation of artists to whom he has shown that totally new possibilities result from the pursuit of abstract organization of shapes, forms and colors.\u003C/p>\u003Cp>In a recent exhibition catalogue he described his philosophy: \"Painting and sculpture are anachronistic terms; it is more correct to speak of bi-, tri-, and multi-dimensional plastic ... I bring all of the underlying ideas of my creations back to these constants in order to find them again in the moment of recrea-tion. Cadmium, cobalt, ultramarine, or the blue colors of March are measurable by chemical constants. The lines, curves and angles are measurable geometric constants. Size, har-mony, variety and scale are measurable mathematical constants. Light intensity is a measurable physical constant.\"\u003C/p>\u003Cp>Essentially, Vasarely's work is conceived to stimulate visual experience. Color vibration and kinetic movement are ends in themselves.\u003C/p>\u003Cp>His term, \"La plastique cinetique,\" or kinetic plastic art, describes his work; it embraces a technical means of expression and a total philosophy related to his analysis of life today.\u003C/p>\u003Cp>He said, \"Our egocentric vision must evolve toward a total community consciousness.\u003C/p>\u003Cp>From static contemplators, we have become dynamic participants.\" The universe is no longer \"egocentric, but expansionistic. »\u003C/p>\u003Cp>Vasarely perceives the dynamic mobility of our time. We live in a world with mobility as the common denominator in work, residence, transportation, education and status. There-fore, Vasarely seeks to express contemporary mobility through a strictly visual organization.\u003C/p>\u003Cp>Allan T. Schoener\u003Cbr />Director, Contemporary Arts Center\u003Cbr />Cincinatti, Ohio\u003C/p>","1964",[438],{"id":439,"url":440,"webp200":441,"webp400":442,"webp800":443,"webp1200":444,"webp1800":445,"webp2400":446,"webp3200":447,"heroLandscape":448,"heroPortrait":449,"alt":12,"title":450,"width":451,"height":452,"caption":453,"__typename":270},"4306","https://dev-admin.vasarely.com/uploads/img/Pace-1964_2025-05-06-151914_wyfu.jpeg","https://dev-admin.vasarely.com/uploads/img/_webp200/4306/Pace-1964_2025-05-06-151914_wyfu.webp","https://dev-admin.vasarely.com/uploads/img/_webp400/4306/Pace-1964_2025-05-06-151914_wyfu.webp","https://dev-admin.vasarely.com/uploads/img/_webp800/4306/Pace-1964_2025-05-06-151914_wyfu.webp","https://dev-admin.vasarely.com/uploads/img/_webp1200/4306/Pace-1964_2025-05-06-151914_wyfu.webp","https://dev-admin.vasarely.com/uploads/img/_webp1800/4306/Pace-1964_2025-05-06-151914_wyfu.webp","https://dev-admin.vasarely.com/uploads/img/_webp2400/4306/Pace-1964_2025-05-06-151914_wyfu.webp","https://dev-admin.vasarely.com/uploads/img/_webp3200/4306/Pace-1964_2025-05-06-151914_wyfu.webp","https://dev-admin.vasarely.com/uploads/img/_1920x1080_crop_center-center_60_none_ns/4306/Pace-1964_2025-05-06-151914_wyfu.webp","https://dev-admin.vasarely.com/uploads/img/_1080x1920_crop_center-center_60_none_ns/4306/Pace-1964_2025-05-06-151914_wyfu.webp","Pace 1964",1328,1716,"\u003Cp>Pace 1964\u003C/p>",5,{"title":456,"description":457,"textAuthor":12,"year":458,"source":12,"image":459,"index":476},"Galerie Veranneman","\u003Cp>Those who follow the evolution of my œuvre and read my writings know that the Vasarely exhibitions will become increasingly rare… New tasks await me. I do not say: « Painting is dead, long live plasticity!’ ». However, the artist that I am will slowly give way to the founder-researcher of an institution recognized as being of public utility, whose task will be to build and embellish the Polychrome City of Happiness.\u003C/p>\u003Cp>Having said that, how could I forget what the “Plat-Pays” meant to me... From Brussels to Knokke, from Courtrai - via La Louvière - to Liège. Starting out in 1954 at the Palais des Beaux-Arts in Brussels, with a heavy heart, I immediately encountered so much friendly warmth, praise and awards, that I feel eternally fulfilled. Good-bye, then, and see you soon in sunny Aix-en-Provence...\u003C/p>\u003Cp>Vasarely, 1973\u003C/p>","1973",[460],{"id":461,"url":462,"webp200":463,"webp400":464,"webp800":465,"webp1200":466,"webp1800":467,"webp2400":468,"webp3200":469,"heroLandscape":470,"heroPortrait":471,"alt":12,"title":472,"width":473,"height":474,"caption":475,"__typename":270},"4309","https://dev-admin.vasarely.com/uploads/img/Capture-d%E2%80%99%C3%A9cran-2025-04-08-%C3%A0-18.26.09-2_2025-05-06-152012_uorn.jpeg","https://dev-admin.vasarely.com/uploads/img/_webp200/4309/Capture-d’écran-2025-04-08-à-18.26.09-2_2025-05-06-152012_uorn.webp","https://dev-admin.vasarely.com/uploads/img/_webp400/4309/Capture-d’écran-2025-04-08-à-18.26.09-2_2025-05-06-152012_uorn.webp","https://dev-admin.vasarely.com/uploads/img/_webp800/4309/Capture-d’écran-2025-04-08-à-18.26.09-2_2025-05-06-152012_uorn.webp","https://dev-admin.vasarely.com/uploads/img/_webp1200/4309/Capture-d’écran-2025-04-08-à-18.26.09-2_2025-05-06-152012_uorn.webp","https://dev-admin.vasarely.com/uploads/img/_webp1800/4309/Capture-d’écran-2025-04-08-à-18.26.09-2_2025-05-06-152012_uorn.webp","https://dev-admin.vasarely.com/uploads/img/_webp2400/4309/Capture-d’écran-2025-04-08-à-18.26.09-2_2025-05-06-152012_uorn.webp","https://dev-admin.vasarely.com/uploads/img/_webp3200/4309/Capture-d’écran-2025-04-08-à-18.26.09-2_2025-05-06-152012_uorn.webp","https://dev-admin.vasarely.com/uploads/img/_1920x1080_crop_center-center_60_none_ns/4309/Capture-d’écran-2025-04-08-à-18.26.09-2_2025-05-06-152012_uorn.webp","https://dev-admin.vasarely.com/uploads/img/_1080x1920_crop_center-center_60_none_ns/4309/Capture-d’écran-2025-04-08-à-18.26.09-2_2025-05-06-152012_uorn.webp","Manuscript",1158,1508,"\u003Cp>Manuscript\u003C/p>",6,{"title":478,"description":479,"textAuthor":12,"year":480,"source":12,"image":481,"index":498},"My Father-in-law","\u003Cp>Vasarely is a rare case of an artist whose name serves to designate a style. Who hasn't been exposed to a painting, a reproduction or an integration by this artist, whose work is an integral part of the collective intellect? This notoriety should not obscure the upheaval he provoked in the conception of art. To the problems of composition raised by Malevitch and Mondrian, he provided an original response, introducing the notion of movement, dissolving the relationship between form and content through the experimental elaboration of a plastic alphabet. This universal, modular creative tool, offering an infinite number of combinations, paved the way for \"permutational art ».\u003C/p>\u003Cp>I am now the protector of this visionary. I know almost everything about him: his idealism, his ambition, his goals, his loves, his revolts, his successes and his ideals. What impression am I left with today? fI I had to define it in one word, I'd choose admiration. He was an impressive man, so transcendent and out of the ordinary that it made a lasting impression. Far removed from the vileness of this earth, he flew high, solitary and independent, dominating by his mastery as much as by his rigor. He was too much of everything. Of rare integrity and acute intelligence, he had talent, sensitivity and intellectual depth.\u003C/p>\u003Cp>A sense of humor that was unspoken and implied, and the detachment of the aristocrat he was. He exuded a strength that endowed his words with a dazzling magnetism; he was one of those people who were created to make people believe in themselves. His generosity, too, was legendary, and as if all these qualities weren't enough, he was handsome and possessed of a charm that he played with and kept to the very end.\u003C/p>\u003Cp>Vasarely was entirely dedicated to his art, the only real focus of his entire life. His energy, determination and capacity for concentration were unequalled, and he worked day and night to realize his work and impose it on the world. He was imbued with a perception of the future that he expressed in various writings, of the upheaval that the evolution of technology would bring, with its advantages and consequences. He was fascinated by nature, its mystery and complexity, and both his preoccupations and his reading focused on all aspects of science, from the infinitely small to the infinitely large.\u003C/p>\u003Cp>Galaxies, cosmos, atoms and molecules were the subject of many of our conversations. He was well aware, and sometimes complained of having been born a century too early. A man of an abstract, codified future, he nevertheless led a fairly traditional existence, locked away in his workshop and his thoughts.\u003C/p>\u003Cp>It was an immense privilege to have been so close to him, so intimately acquainted with him, despite the violence I subsequently endured, but, after all, isn't suffering always part of the journey?\u003C/p>\u003Cp>Michèle Vasarely\u003C/p>","2005",[482],{"id":483,"url":484,"webp200":485,"webp400":486,"webp800":487,"webp1200":488,"webp1800":489,"webp2400":490,"webp3200":491,"heroLandscape":492,"heroPortrait":493,"alt":12,"title":494,"width":495,"height":496,"caption":497,"__typename":270},"7480","https://dev-admin.vasarely.com/uploads/img/Mon-beau-p%C3%A8re-Fr_SIGNED.jpg","https://dev-admin.vasarely.com/uploads/img/_webp200/7480/Mon-beau-père-Fr_SIGNED.webp","https://dev-admin.vasarely.com/uploads/img/_webp400/7480/Mon-beau-père-Fr_SIGNED.webp","https://dev-admin.vasarely.com/uploads/img/_webp800/7480/Mon-beau-père-Fr_SIGNED.webp","https://dev-admin.vasarely.com/uploads/img/_webp1200/7480/Mon-beau-père-Fr_SIGNED.webp","https://dev-admin.vasarely.com/uploads/img/_webp1800/7480/Mon-beau-père-Fr_SIGNED.webp","https://dev-admin.vasarely.com/uploads/img/_webp2400/7480/Mon-beau-père-Fr_SIGNED.webp","https://dev-admin.vasarely.com/uploads/img/_webp3200/7480/Mon-beau-père-Fr_SIGNED.webp","https://dev-admin.vasarely.com/uploads/img/_1920x1080_crop_center-center_60_none_ns/7480/Mon-beau-père-Fr_SIGNED.webp","https://dev-admin.vasarely.com/uploads/img/_1080x1920_crop_center-center_60_none_ns/7480/Mon-beau-père-Fr_SIGNED.webp","Mon beau père signed",2006,2605,"\u003Cp>Mon beau père signed\u003C/p>",7,"textGallery_Entry","sectionBlocks_Entry",[],{"title":503,"description":291,"keywords":504,"social":505,"advanced":510},"Selected Writings | Michèle Vasarely Foundation",[],{"twitter":506,"facebook":508},{"title":503,"description":291,"image":507},{"url":296},{"title":503,"description":291,"image":509},{"url":296},{"robots":511,"canonical":12},[],{"title":9,"slug":256,"uri":304},[514,519,522],{"locale":303,"slug":515,"uri":516,"ancestors":517},"ecrits-divers","artist/vasarely/ecrits-divers",[518],{"locale":303,"slug":256,"uri":304},{"locale":307,"slug":317,"uri":287,"ancestors":520},[521],{"locale":307,"slug":256,"uri":304},{"locale":310,"slug":317,"uri":287,"ancestors":523},[524],{"locale":310,"slug":256,"uri":304},[],["Reactive",527],{"$snuxt-i18n-meta":528,"$sheader":532,"$sfooter":533,"$snuxt-seo-utils:routeRules":534,"$sisHeaderOpen":57,"$sclickedIndex":61,"$ssite-config":535},{"fr":529,"es":530,"cn":531},{"slug":256,"subsection":515},{"slug":256,"subsection":317},{"slug":256,"subsection":317},{"items":6},{"items":23},{"head":-1,"seoMeta":-1},{"_priority":536,"currentLocale":171,"defaultLocale":171,"env":540,"identity":541,"indexable":64,"name":543,"twitter":546,"url":544},{"name":537,"env":538,"url":539,"defaultLocale":539,"identity":537,"twitter":537,"indexable":537,"currentLocale":539},-3,-15,-2,"production",{"type":542,"name":543,"url":544,"image":545,"description":62,"email":62,"vatID":62},"Organization","Michèle Vasarely Foundation","https://vasarely.com/","https://vasarely.com/og-image.jpg","@twitter",["Set"],["ShallowReactive",549],{"useAsyncGraphqlQuery:init:Gtyrsi7pkk7lsvpiqTwefu2mcKJD1odGfRkYu9Jdk8I":-1,"useAsyncGraphqlQuery:form:9hTOaeJHUQcqsSjyv2YpJ6z4bGfDoWtXg9L51o_14CM":-1,"useAsyncGraphqlQuery:form:uUtxu4JYeXadZYU4_rFAsRO97K70uCRYgpf9dv1PuQE":-1,"useAsyncGraphqlQuery:entry:8bwf0usR1UNIWAzpN6PAjxFhEkBiS2CJRLax6KImhNo":-1,"useAsyncGraphqlQuery:entry:NhxL-HqykAFj_lEHUjSZOziBjBp9dW90alqw9klSJXM":-1},"/artist/vasarely/selected-writings"]