Composition with green and blue - Sonia Delaunay
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Beskrivning
A dynamic abstract composition by Sonia Delaunay, featuring interlocking geometric shapes and a bold, rhythmic use of primary and secondary colours.
Sonia Delaunay was a central figure in the development of abstract art during the twentieth century. Her work is defined by a rigorous exploration of colour theory and geometric form. This piece, Composition with green and blue, demonstrates her mastery of the Orphist style, which prioritised the musicality of colour and the rhythmic arrangement of shapes over representational subject matter.
The composition relies on the interplay of primary and secondary hues, balanced against neutral tones. Delaunay uses interlocking arcs and rectangular blocks to create a sense of movement across the surface. The arrangement suggests a rotational energy, where the eye is guided through the overlapping planes of green, blue, red, and black. By stripping away external references, she focuses the viewer on the physical properties of the paint and the spatial relationships between the distinct geometric segments.
Delaunay often applied these principles across various media, including textiles, fashion, and book design. Her approach to abstraction was never purely theoretical, as she sought to integrate art into daily life. This work reflects her mature period, where her command of balance and contrast became increasingly refined. The flat application of colour and the deliberate lack of perspective serve to emphasise the two-dimensional nature of the medium, allowing the viewer to engage directly with the visual rhythm of the piece. The result is a study in harmony and tension, where the deliberate placement of each shape contributes to a cohesive, dynamic whole.
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Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
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
Composition with green and blue - 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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