Abstract Composition with Semicircles - Sonia Delaunay
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Beschreibung
A dynamic lithograph by Sonia Delaunay, featuring rhythmic concentric semicircles and a bold, high-chroma colour palette.
Sonia Delaunay was a central figure in the development of Orphism, a movement that prioritised the use of colour and geometric form to create a sense of rhythm and movement. This work displays her characteristic approach to abstraction, where the canvas is treated as a field for the interaction of pure colour and shape. The composition is structured around a series of concentric semicircles, which are arranged to suggest a dynamic, rotating motion across the surface.
Delaunay often explored the concept of simultaneity, a theory that suggests colours placed next to one another influence the perception of their neighbours. In this piece, the juxtaposition of high-chroma hues, such as yellow, orange, and blue, against neutral blacks and greys, creates a visual tension. The forms are not static; they appear to expand and contract, reflecting the artist's interest in the physics of light and the optical effects of colour theory. Her background in textile design is evident in the precise, rhythmic arrangement of the shapes, which maintain a balance between order and spontaneity.
Unlike many of her contemporaries who sought to represent the physical world, Delaunay focused on the emotional and sensory impact of abstract elements. The lithographic medium allows for a flat, clean application of colour, which reinforces the graphic quality of the design. This print captures the essence of her later career, where she distilled her earlier experiments with light and motion into clear, bold geometric statements. The work is a clear example of her ability to translate complex theoretical ideas into accessible, visual compositions that remain engaging through their balance of form and hue.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Abstract Composition with Semicircles - Sonia Delaunay
Artist Biography
Sonia Delaunay
She was born Sara Stern in 1885 in Hradyzk, Ukraine. At five, her wealthy uncle Henri Terk adopted her and took her to St Petersburg. She grew up with access to art collections, European travel, and a good education. She studied in Karlsruhe, moved to Paris in 1905, and absorbed the Fauvists and Post-Impressionists. After meeting Robert, they developed what Guillaume Apollinaire named Orphism: a variant of Cubism built on pure colour, geometric abstraction, and dynamic movement. Their shared foundation was Chevreul's colour theory of simultaneous contrast, where adjacent colours alter each other's appearance.
In 1913, she sewed the simultaneous dress by hand from scraps of men's tailoring cloth, velvet, silk, and fur. It was designed to match the energy of the foxtrot and tango at Le Bal Bullier, a popular Parisian dance hall. Apollinaire urged readers to visit the Bal Bullier on Thursdays when the Delaunays arrived wearing her creations. The same year, she collaborated with Blaise Cendrars on La Prose du Transsiberien, a two-metre vertical fold-out combining his poem with her abstract colour panels. It is described as the first complete fusion of poetry and painting.
She treated painting, textiles, and fashion as a single practice. She set up a studio in their apartment, opened a fashion house called Sonia, and had her textile line picked up by one of Europe's biggest fabric manufacturers. In 1964, she became the first living woman to have a retrospective at the Louvre. She was seventy-nine. She died in 1979, aged ninety-four.
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