Untitled (Illustration for Tristan Tzara's _Le fruit permis_) - Sonia Delaunay
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Description
An abstract gouache illustration by Sonia Delaunay for Tristan Tzara's _Le fruit permis_, featuring geometric shapes and bold colours characteristic of the Orphism movement.
This untitled gouache by Sonia Delaunay is an illustration for Tristan Tzara's _Le fruit permis_. Delaunay, a key figure in the Orphism movement, explored the interplay between colour and form to create dynamic and abstract compositions. Orphism, also known as Simultanism, sought to express the harmony and rhythm of music through painting. Delaunay's work often incorporated geometric shapes and bold colours to evoke a sense of movement and energy. The illustration features a series of geometric shapes arranged in a seemingly random yet balanced composition. A red circle, divided into quadrants of red, green, and blue, sits atop a green square. A black square anchors the composition, bisected by a curved blue form. The use of flat, unmodulated colours and the absence of traditional perspective contribute to the work's abstract quality. The white background provides a stark contrast, further accentuating the shapes and colours. This piece exemplifies Delaunay's exploration of colour and form, reflecting the principles of Orphism and her contribution to the development of abstract art.
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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.
Untitled (Illustration for Tristan Tzara's _Le fruit permis_) - Sonia Delaunay
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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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