Robe Poème, L’Ange a Glissé… - Sonia Delaunay
Giclée de archivo
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Pago seguro
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Descripción
A study for a poem-dress by Sonia Delaunay, featuring abstract geometric forms and integrated text in a characteristic Orphist style.
Sonia Delaunay was a central figure in the development of Orphism, a movement that prioritised the lyrical use of colour and geometric form. This work, titled Robe Poème, L’Ange a Glissé…, reflects her interest in the synthesis of literature, fashion, and visual art. Delaunay frequently collaborated with poets, integrating text directly into her designs to create what she termed 'poem-dresses'.
The composition features a series of abstract shapes, including circles, arcs, and linear patterns, which are arranged to suggest the structure of a garment. The inclusion of handwritten text, which flows across the surface of the forms, disrupts the traditional boundary between the visual and the literary. The palette is composed of earthy tones, including ochre, brown, and muted green, which contrast with the stark white background. The application of paint suggests the pochoir technique, a stencil-based process that Delaunay utilised to achieve clean, flat areas of colour.
This piece demonstrates the artist's approach to design, where the body serves as a canvas for rhythmic, abstract expression. By merging the tactile nature of textiles with the intellectual content of poetry, Delaunay created works that functioned as both wearable objects and independent visual compositions. Her work from this period remains a clear example of the interdisciplinary nature of early twentieth-century modernism, where the distinction between fine art and applied design was intentionally blurred.
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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
Robe Poème, L’Ange a Glissé… - 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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