Electric Prisms - Sonia Delaunay-Terk
Archival giclée
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Description
Painted in 1913, Sonia Delaunay-Terk's "Electric Prisms" exemplifies Orphism through its use of colour and geometric shapes to convey movement and energy. The painting captures the dynamism of modern life through abstract forms.
Sonia Delaunay-Terk's "Electric Prisms", painted in 1913, is a key example of Orphism, an early abstract movement within Cubism. Delaunay-Terk, along with her husband Robert Delaunay, developed this style, which aimed to express movement and rhythm through colour. The term 'Orphism' was coined by the French poet Guillaume Apollinaire in 1912, drawing a parallel between the abstract qualities of painting and music. Delaunay-Terk's work is characterised by its use of contrasting colours and geometric shapes to create a sense of dynamism and energy. "Electric Prisms" is composed of concentric circles and fragmented planes of colour. The arrangement suggests a sense of light and movement, evoking the sensation of electric light, a modern marvel at the time. The painting's title reflects the artists' interest in capturing the essence of modern life and technology through abstract forms. The composition is carefully balanced, with the circular forms creating a sense of harmony and rhythm. The painting's colour palette includes blues, greens, reds, and yellows, which are arranged to create a sense of visual excitement.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Electric Prisms - Sonia Delaunay-Terk
Our Features
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Specific Features
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- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
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- Frames in black, natural wood, dark wood or white
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Care & Cleaning
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- 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
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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
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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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