Icarus - Sonia Delaunay
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Beschreibung
A 1937 abstract composition by Sonia Delaunay, featuring rhythmic geometric forms and bold colour contrasts characteristic of the Orphist movement.
Icarus, painted by Sonia Delaunay in 1937, represents the artist's engagement with the principles of Orphism and the exploration of pure colour relationships. Delaunay, a central figure in the development of abstract art in the early twentieth century, moved away from representational forms to focus on the rhythmic interaction of geometric shapes and chromatic contrasts. This work demonstrates her interest in the concept of simultaneity, where the juxtaposition of different hues creates a sense of movement and depth on a two-dimensional surface.
The composition is dominated by concentric arcs and rectangular blocks, which suggest the trajectory of flight and the subsequent descent associated with the mythological subject. The palette includes high-contrast tones, such as lime green, deep violet, and vermilion, set against darker, grounding elements. By avoiding traditional perspective, Delaunay allows the viewer to experience the painting as a series of optical sensations rather than a narrative scene. The arrangement of these forms creates a dynamic tension, reflecting the artist's broader interest in the application of colour theory to both fine art and design.
This piece was created during a period when Delaunay was increasingly involved in large-scale public commissions, including works for the 1937 International Exposition in Paris. Her approach to abstraction was informed by a desire to integrate art into daily life, a philosophy that permeated her work in textiles, fashion, and painting. The geometric precision seen here is characteristic of her mature style, where the balance between circular motion and rigid rectangular structure provides a sense of order within the abstraction. As a fine art print, this work retains the clarity of Delaunay's original vision, offering a clear example of her contribution to the development of non-objective painting in Europe.
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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
Icarus - 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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