Distant Journeys - Sonia Delaunay
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A 1937 gouache composition by Sonia Delaunay, featuring the rhythmic geometric forms and colour theory characteristic of the Orphist movement.
Distant Journeys (Voyages lointains) is a work by Sonia Delaunay, created in 1937. The composition consists of four vertical panels arranged in a stepped sequence, a format often associated with her decorative commissions for the 1937 Paris International Exposition. The work demonstrates the artist's mastery of Orphism, a movement she co-founded with her husband, Robert Delaunay. This style prioritises the use of pure colour and geometric forms to create a sense of movement and rhythm, rather than relying on traditional perspective or representational accuracy.
The visual field is populated by concentric circles, arcs, and segmented shapes that suggest celestial bodies or rhythmic motion. Delaunay employs a palette of soft blues, yellows, and pinks, punctuated by stronger accents of red and deep blue. These elements interact to produce a sense of optical vibration. The arrangement of the panels creates a narrative flow, moving from the more structured, circular motifs on the left towards the lighter, more ethereal forms on the right.
Throughout her career, Delaunay applied these principles of colour theory to various media, including textile design, fashion, and bookbinding. This specific work reflects her interest in the synthesis of fine art and applied design. The repetition of circular forms serves to unify the disparate panels, creating a cohesive visual experience. The application of gouache allows for a matte, opaque finish that enhances the clarity of the geometric shapes. By focusing on the interaction of colour planes, Delaunay invites the viewer to engage with the work as a series of rhythmic intervals. The composition avoids static balance, opting instead for a dynamic arrangement that suggests the passage of time or the movement of travel, consistent with the title.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
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- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Distant Journeys - 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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