Rythme 1 de robert delaunay biographies

Inspired by the work of certain colour theoreticians (Michel-Eugène Chevreul, Ogden Rood), Delaunay pursued the idea of painting based on the law of simultaneous and successive colour contrast.

That was before the First World War. This particular kind of Cubism, which Apollinaire dubbed Orphism, produced an illusion of movement and was suited to the representation of a modern world in full flight: the Eiffel Tower, revolving aeroplane propellers, sport, and so on.

In 1930, Delaunay reconnected with “non-objective art” in his Rhythmes and Rhythmes sans fin.

Rythme 1 de robert delaunay biographies

In these paintings, colour alone is the expressive element; its organisation, its dimension and its spatial relationships are what determine the rhythms of the shapes. Many artists received commissions for the 1937 International Exposition.

Delaunay, encouraged by his wife Sonia Terk’s activity as a painter and maker of “integrated” furniture and fabrics, had been thinking for some time about abandoning easel painting in favour