Squares - Sonia Delaunay
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Beschreibung
A geometric abstract lithograph by Sonia Delaunay, featuring a rhythmic arrangement of saturated colour blocks and circular forms.
Sonia Delaunay, a central figure in the development of Orphism, focused her practice on the interaction of colour and geometric form. This work demonstrates her approach to abstraction, where the canvas functions as a field of rhythmic, non-representational shapes. By juxtaposing primary and secondary colours, Delaunay creates a sense of movement that defies the static nature of the print medium.
The composition is defined by a series of squares and circular segments, arranged to suggest a dynamic equilibrium. Delaunay avoids traditional perspective, opting instead for a flat, graphic surface that prioritises the optical effect of colour contrast. The inclusion of textured, grey-toned areas provides a visual break from the saturated blocks of red, blue, yellow, and green, adding a layer of material variety to the geometric structure.
Throughout her career, Delaunay applied these principles across various disciplines, including painting, textile design, and printmaking. Her work is characterised by a rejection of representational subject matter in favour of pure colour relationships. This print captures the essence of her later period, where her mastery of balance and proportion allowed for complex arrangements that remain visually accessible. The clean lines and deliberate placement of each shape reflect a rigorous approach to composition, typical of her mature style. As a pioneer of abstract art, Delaunay utilised these geometric explorations to investigate the sensory experience of light and rhythm, creating works that function as visual music.
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Fertigung
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
Squares - 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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