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Vera Molnár.
Collective.

Vera Molnár.

B. Chauveau
€55,00 €0,00
N° d'inventaire 30859
Format 22 X 28
Détails 250 p., illustrations, publisher's hardcover.
Publication Paris, 2024
Etat Nine
ISBN 9782363063359

A panorama of the works of the French artist of Hungarian origin, from her first works dating from the end of the 1940s to her latest creations, including the stained-glass windows of the Lérins Abbey.

exhibition from February 28, 2024 to August 26, 2024 at the Centre Pompidou

Vera Molnár (born in 1924 in Budapest and living in Paris since 1947) passed away on December 7, 2023 at the age of 99. She was a pioneer of digital art.

Developed around 1947 in a constructivist spirit, her works, enriched by knowledge on the psychology of form and the laws of vision, become plastic questionings of optics. A cybernetician then computer scientist, Molnár set up in the 1960s a mode of production that she called "imaginary machine" before becoming the first artist in France (1968) to produce digital drawings using a computer connected to a plotter. Until the mid-1990s, she engaged in a systematic exploration of formal families, the mutations of which she staged, most often favoring repetition and seriality.

A panorama of the works of the French artist of Hungarian origin, from her first works dating from the end of the 1940s to her latest creations, including the stained-glass windows of the Lérins Abbey.

exhibition from February 28, 2024 to August 26, 2024 at the Centre Pompidou

Vera Molnár (born in 1924 in Budapest and living in Paris since 1947) passed away on December 7, 2023 at the age of 99. She was a pioneer of digital art.

Developed around 1947 in a constructivist spirit, her works, enriched by knowledge on the psychology of form and the laws of vision, become plastic questionings of optics. A cybernetician then computer scientist, Molnár set up in the 1960s a mode of production that she called "imaginary machine" before becoming the first artist in France (1968) to produce digital drawings using a computer connected to a plotter. Until the mid-1990s, she engaged in a systematic exploration of formal families, the mutations of which she staged, most often favoring repetition and seriality.