SKU: 44575063387

‘COMPOSITION WITH RED, YELLOW AND GREEN’ BY VICTOR VASARELY (1980)

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Description

‘COMPOSITION WITH RED, YELLOW AND GREEN’ BY VICTOR VASARELY (1980)A late career work by Hungarian French artist VICTOR VASARELY (19061997), grandfather of the Op Art movement. The piece exemplifies his theory of visual kinetics, using a mix of vibrant colors and rigid geometric patterns to create a powerful illusion of movement and depth. The colorful squares within squares represent a modular "alphabet" for Vasarely, that can be systematically rearranged to produce an infinite number of compositions. He believed

A late-career work by Hungarian-French artist VICTOR VASARELY (1906–1997), grandfather of the Op Art movement. The piece exemplifies his theory of “visual kinetics,” using a mix of vibrant colors and rigid geometric patterns to create a powerful illusion of movement and depth. The colorful squares-within-squares represent a modular "alphabet" for Vasarely, that can be systematically rearranged to produce an infinite number of compositions. He believed that such work would transcend cultural boundaries and be universally understood. The use of serigraphs reflected a related objective, allowing him to "democratize" his art—by making it accessible to and affordable for a wider audience. Signed in pencil and numbered 178/250.


VICTOR VASARELY (1906–1997) was a French-Hungarian painter, commonly regarded as a pioneering figure of the 20th century's Op Art movement. He created eye-popping geometric abstractions that play with the viewer’s perception of depth, perspective, and motion, and his innovations in color and illusion have had tremendous impact on subsequent generations of artists. His 1937 oil on canvas, Zebra, consisting of undulating black and white stripes that suggest the entire form of the titular animals, is often cited as the earliest example of an Op-Art painting.

Born as Győző Vásárhelyi in the city of Pécs in southwestern Hungary, he pursued medical studies for two years at the University of Budapest. He abandoned this path in favor of a career in the visual arts, but his scientific education had a lasting and obvious impact on his systematic methodology. In 1929, he transferred to the Muhely Academy in Budapest, known as the “Budapest Bauhaus,” where he concentrated on graphic design and typography.

In 1930, Vasarely moved to Paris, working as a graphic artist with various advertising agencies to support himself. During this formative period, he experimented with the optical effects that would ultimately define his mature style, and the graphic work he produced investigated the influences of perspective and light.

After WWII, Vasarely opened a studio near Paris and increasingly focused on his fine art. From 1944 to 1947, he explored Cubism, Expressionism, and Surrealism, but he would eventually come to see these as “Les Fausses Routes” (false roads, or “wrong tracks”). It was only when he fully committed to developing his own unique voice (from 1947 to 1951) that he hit upon his distinctive geometric abstract style, drawing inspiration from such diverse sources as the tiled walls of the Paris Metro, pebbles on a Brittany beach, and the terraced stone houses of Gordes in Provence. At the same time, he developed an interest in integrating art and architecture. He incorporated his geometric visions into large-scale works for public spaces, such as the ceramic mural he designed for the Ciudad Universitaria de Caracas in 1954.

In 1955, Vasarely wrote his influential “Yellow Manifesto” for the landmark exhibition Le Mouvement at Paris’s Galerie Denise René, wherein he laid out his theories on “visual kinetics.” He proposed that works of art could create truly dynamic experiences without themselves physically moving. His international reputation as the central figure of the Op-Art movement was solidified in 1965 by MoMA's exhibition, The Responsive Eye, in New York City. Vasarely’s geometric abstractions were a defining part of the “psychedelic” aesthetic.

During the 1960s, Vasarely developed and patented a system of interchangeable geometric shapes and colors, which he termed a “plastic alphabet,” whose units were simple variations of squares, circles, and triangles in a limited, but expandable, color palette. He used it to create his “Folklore Planetaire” series, complex optical illusions that were intended to serve as a visual language. (One early design from the series was featured on the original 1969 UK release of David Bowie's sophomore album.) In 1972, he collaborated with his son Jean-Pierre “Yvaral” Vasarely (1934–2002) to redesign the logo for the French car manufacturer Renault.

Vasarely received numerous honors during his lifetime, including the Guggenheim Prize in 1964 and, in 1976, appointment as a French Knight of the Legion of Honor. That same year, Vasarely established an eponymous foundation in Aix-en-Provence, France, to promote his legacy. Following this, museums dedicated to his artworks were opened in his hometown of Pécs (1976) and in Budapest (1987).

He died in Paris at the age of 90. Apart from his distinctive art, he played a prominent role in the democratization of art, through, on the one hand, its architectural integration, and, on the other, the mass production of prints.


Pure form and pure color can signify the world. – VICTOR VASARELY


DETAILS

Artist – VICTOR VASARELY

Period – 1980

Origin – FRANCE

Styles/Movements – OP ART; SPACE AGE

Media – SERIGRAPH

Support – PAPER

Edition – 178/250

Colors – RUBY, AVOCADO, APRICOT, DARK GREEN

Condition – Excellent vintage condition. May show minor signs of previous ownership and use.

Dimensions – 33 ¼" W × 1 ¼" D × 33 ¼" H

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SKU: 44575063387

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Happy
West Palm Beach, US
★★★★★ 5
Nice accent to my bathroom by my sink
Size: 5.9"D, Color: Ebony Black + Rustic Brown, Size: 5.9"D, Color: Ebony Black + Rustic Brown
Great product, very sturdy, easy assembly, rich looking, glides easily, would buy again.
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Reviewed in the United States on March 16, 2026
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Susan Harris
Lexington, US
★★★★★ 5
Functional and cute rolling cart.
Size: 7.9"D, Color: Rustic White + Honey Brown, Size: 7.9"D, Color: Rustic White + Honey Brown
This fit perfectly right where I needed it and adds storage as well!!! It rolls right out when I need it to! It could not be more perfectly suited to this space!!
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Reviewed in the United States on April 8, 2026
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Korah
Birmingham, US
★★★★★ 1
Shelf snapped during assembly; had to fight for refund with seller
Size: 5.9"D, Color: Rustic White + Honey Brown
I was really excited to get this cart for my kitchen because it looks nice and would fit really well between my fridge and my oven. However, when assembling the final shelf, it snapped and broke and became unusable. I reached out to the seller to see if they could offer replacement pieces and they told me no, offering a 40% refund or exchange instead. Like I said, I was literally on the final step of assembly with the shelf snapped, so I can’t take it apart and put it back in the box properly to ship back and 40% is NOT enough if I have to re-purchase the item. The last offer the seller made was for a 50% refund which is another terrible offer. So now I have a half-broken unit that I don’t know what to do with. Super disappointed. If you’re assembling this piece, make sure all your shelves fit properly! And if you have problems, don’t expect the seller to help you. EDIT: The seller finally sent a 100% refund after emailing back and forth for several days. I did not have a good experience with this seller, so I will be donating the cart as-is and not be repurchasing.
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Reviewed in the United States on December 29, 2025
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T. Alford
Lake Worth, US
★★★★★ 5
Great quality & easy to assemble!
Size: 7.9"D, Color: Ebony Black + Rustic Brown
Very impressed with the quality of this product. The wood is nice quality, instructions are easy to read and the item was easy to assemble. They even provided all of the necessary tools, including a screwdriver to assemble it. Looks great in my newly finished laundry room.
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Reviewed in the United States on March 28, 2026
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Orlando J.
Houston, US
★★★★★ 5
Great design for a kitchen sink organizer -- will not tip or accumulate water
We've had an Oxo kitchen sink organizer for years, and it's been fine, except 1) tall brushes (for example, Oxo brushes) make it tippy, stray elbows or imperfect placement of the brush would knock it into the sink and 2) it built up a soapy sludge in the bottom that that had to be drained and wiped down constantly. This item solves both issues perfectly. Likes: Size - I think it's about 5 inches deep, which is just right to fit the strip of countertop that runs behind the sink, up against the backsplash Weight - The drying stone in the bottom gives the baskets some real heft, so there is no tipping it over by bumping a brush handle -- it really stays put Drying stone -- The diatomaceous drying stone that slides into the bottom of the main basket is a great idea. These are porous stones that will absorb water and then allow it to evaporate fairly quickly. So far, it seems to be doing its job well. I'm sure the stone will need a wipe down now and then to stay clean, but no puddles of sludgy soapy water in the bottom is a big plus Overall Design/Build quality -- The unit seems solid. It's a simple design, but there are no sharp edges or unfinished bits. Once in place it doesn't wobble a bit. I wasn't sure about the black powder-coated finish, but installed it looks clean and it's unobtrusive. I appreciate that the smaller basket for tall brushes sits on hooks and can be hung inside or outside the main basket. Ours sits inside, but there's plenty of room left over for sponges . And there's still room to stand up a bottle of liquid detergent or counter-top spray. NOT SO LIKES Nothing so far. I notice a lot of this style of sink organizer on Amazon, so presumably they're selling well. It's a great improvement over the older kinds. Five big, clean, well-organized stars. Highly recommended.
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Reviewed in the United States on December 6, 2025

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