Sonia Delaunay (1885 –1979) was a French artist born in Ukraine, who spent most of her working life in Paris. She formally trained in Russia and Germany before moving to France and expanding her practice to include textile, fashion, and set design. She co-founded the Orphism art movement, noted for its use of strong colours and geometric shapes, with her husband Robert Delaunay and others. She was the first living female artist to have a retrospective exhibition at the Louvre in 1964, and in 1975 was named an officer of the French Legion of Honor.
Sonia Delaunay's career spanned the European continent, allowing her to reap the riches of the exciting advances by many avant-garde art groups. Born and raised in Ukraine, she was educated in Germany and then France, making Paris her home just as modern art was finding a new way to find meaningful subject matter not dependent on realistic depictions of the world. Sonia was one of the primary propagators of Orphism (a movement founded by her husband Robert), a theory wedding color to form in order to achieve visual intensity on the surface of the canvas. Delaunay extended the visual exploration of this theory to a range of fields beyond painting, developing an entire career in textile design.
By matching primary and secondary colors (red with green, yellow with purple, and blue with orange) to create a kind of visual vibration, Robert Dulaunay developed a new type of expressive, abstract paintings. He called this exploration "Simultaneous Contrast," but the movement became officially known as Orphism and Sonia was one of its chief practitioners.
The Delaunay couple used Orphism to create non-objective imagery, the significance of which was based on the intensity of the expression that they could create with color on the surface of the canvas. They placed lines of primary color beside those of secondary color, understanding that the scientific effect on the eye of such combinations would result in art that could be just as scintillating to the viewer as those depicting a standard view of reality such as a figure reclining on a couch. Their efforts produced a body of work that forced the viewer to experience their pieces visually - yet powerfully.
Sonia Delaunay's exploration of expressive color in the field of textile design differentiates her significantly from other members of the contemporary avant-garde. Besides designing, making, and selling garments in her own fashion boutique, she was responsible for costume design in a range of the performing arts including theatre and dance. She ended up creating a line of textiles so significant that it was picked up by one of the biggest fabric manufacturers in Europe.
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Ms. Sonia Delaunay Portrait of Philomene, 1907 Sleeping girl, 1907 Prose of the Trans-Siberian and of Little Jehanne of France, 1913 Simultaneous Dress, 1913 Electric Prisms, 1914 Costume Design for Cleopatra, 1918 Wearing the Pierrot-Éclair costume, 1926
on the set of René Le Somptier’s film Le P’tit Parigot, 1926 Composition 35, 1930 Design in the style of Mondrian, 1931
possibly for a rug, from 'Compositions, Colours, Ideas' Untitled, 1936 gouache (Illustration for Tristan Tzara's "Le fruit permis" La cible, 1936-37
Projet pour le palais des chemins de fer de l'exposition internationale de Paris 1937Hélice, 1937, Décoration Pour Le Palais De L’Air,
Exposition Internationale Des Arts Et Des Techniques Dans La Vie Moderne Tableau De Bord, 1937 Décoration Pour Le Palais De L’Air,
Exposition Internationale Des Arts Et Des Techniques Dans La Vie Moderne Rythme couleur 1076, 1939 Rhythme (Rhythm), 1945 Rythme rouge et noir, 1945 Colored Rhythm, 1946 Untitled, 1956 gouache (Illustration for Tristan Tzara's "Le fruit permis") Untitled, 1957 Illustration for Rythmes et Couleurs , 1966 27 Tableaux Vivants, 1969 Costume pour Carnaval de Rio, 1969 Costumes, 1969 Automne, 1970 La Rochelle, 1970 Love, 1970 Unknown title, 1970 Les Illuminations, 1973 Abstraction, 1979 King of Hearts Venise Wearable Art Project for Kids
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