Sonia Delaunay, ‘Rythmes colorés’, 1954, Galerie Berès

Signature: Signed, lower right, Sonia Delaunay

Arp, Magnelli, S. Delaunay, S. Taueber-Arp, galerie Bing, Paris, juin-juillet 1954
Sonia Delaunay, retrospective 1916-1976, galerie Artcurial, 1976, Paris
"Sonia Delaunay, Les couleurs de l'abstraction", musée d'Art moderne de la Ville de Paris, 17 octobre 2014 - 22 février 2015, Tate Modern, Londres, 15 avril - 16 août 2015, p. 280

Jacques Damase (avec la coll. de S. Delaunay) Sonia Delaunay, Rythmes et couleurs, Paris, Hermann, 1971, p. 279, n° 166 repr.
"Sonia Delaunay, Les couleurs de l'abstraction", musée d'Art moderne de la Ville de Paris, 17 octobre 2014 - 22 février 2015, Tate Modern, Londres, 15 avril - 16 août 2015, p. 280 (pas repr.)

Galerie Artcurial, Paris

About Sonia Delaunay

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.

Ukrainian, 1885-1979, Gradizhsk, Ukraine, based in Paris, France