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Sonia Delaunay, ‘Plate n.4 from "Ses peintures, ses objets, ses tissus simultanés, ses modes"’, 1925, Wallector
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Sonia Delaunay

Plate n.4 from "Ses peintures, ses objets, ses tissus simultanés, ses modes", 1925

Pochoir
15 × 22 in
38 × 56 × 0.1 cm
This is part of a limited edition set.
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Location
Only Exhibition
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About the work
Wallector
Only Exhibition

Plate n. 4 from the portfolio "Ses peintures, ses objets, ses tissus simultanés, ses …

Medium
Print
Series
From the Series "Ses peintures, ses objets, ses tissus simultanés, ses modes"
Publisher
Libraire des Arts Décoratifs
Sonia Delaunay
French, 1885–1979
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Sonia Delaunay’s innovative explorations of color and form began with a quilt she made for her son in 1911 that would spur a breakthrough in the history of abstraction. She had moved from Moscow to Paris at age 20, where she first encountered Post-Impressionism and Fauvism, inspiring her to push further toward non-objective art. Along with her husband, Robert Delaunay, she developed a bright blend of Cubism and Futurism that would be dubbed Orphism by critic Guillaume Apollinaire in 1910—though Delaunay preferred the term “Simultaneous Contrasts”. In addition to painting, she created textiles as “exercises in color,” under the Maison Delaunay label, even creating costumes for Sergei Diaghilev’s Ballets Russes. In 1964, Delaunay became the first living woman to be given a retrospective at the Louvre.

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Sonia Delaunay, ‘Plate n.4 from "Ses peintures, ses objets, ses tissus simultanés, ses modes"’, 1925, Wallector
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About the work
Wallector
Only Exhibition

Plate n. 4 from the portfolio "Ses peintures, ses objets, ses tissus simultanés, ses modes" is an original artwork realized by Sonia Delaunay.
The long preface by André Lhote, accompanied by texts by Albert Gleizes, Robert Delaunay, Apollinaire and Cendrars, is followed by four poems by Cendrars, Delteil, …

Medium
Print
Series
From the Series "Ses peintures, ses objets, ses tissus simultanés, ses modes"
Publisher
Libraire des Arts Décoratifs
Sonia Delaunay
French, 1885–1979
Follow

Sonia Delaunay’s innovative explorations of color and form began with a quilt she made for her son in 1911 that would spur a breakthrough in the history of abstraction. She had moved from Moscow to Paris at age 20, where she first encountered Post-Impressionism and Fauvism, inspiring her to push further toward non-objective art. Along with her husband, Robert Delaunay, she developed a bright blend of Cubism and Futurism that would be dubbed Orphism by critic Guillaume Apollinaire in 1910—though Delaunay preferred the term “Simultaneous Contrasts”. In addition to painting, she created textiles as “exercises in color,” under the Maison Delaunay label, even creating costumes for Sergei Diaghilev’s Ballets Russes. In 1964, Delaunay became the first living woman to be given a retrospective at the Louvre.

Sonia Delaunay

Plate n.4 from "Ses peintures, ses objets, ses tissus simultanés, ses modes", 1925

Pochoir
15 × 22 in
38 × 56 × 0.1 cm
This is part of a limited edition set.
Sold
Location
Only Exhibition
Want to sell a work by this artist? Consign with Artsy.
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