Electric Prisms - Sonia Delaunay
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Beskrivning
A seminal work of Orphism, this 1914 painting explores the interaction of light and colour through concentric circles and geometric abstraction.
Electric Prisms, painted in 1914, represents a significant moment in the development of Orphism, a movement championed by Sonia Delaunay and her husband, Robert Delaunay. The work focuses on the interaction of colour and light, moving away from representational forms to explore the rhythmic qualities of pure abstraction. Delaunay employs a series of concentric circles and intersecting geometric planes to create a sense of movement and energy, reflecting the modern urban environment of early twentieth-century Paris.
The composition is structured around two primary circular motifs that overlap and bleed into one another. These forms are constructed from segments of varying hues, which create a sensation of rotation and light diffusion. The palette is composed of high-chroma tones, including blues, greens, yellows, and reds, which are applied in flat, distinct patches. This technique, often referred to as simultaneity, relies on the optical effect of placing contrasting colours side by side to generate a sense of vibration and depth without traditional perspective.
Sonia Delaunay was deeply interested in how light behaves in a modern city, particularly the glow of electric street lamps. This painting captures the fragmented, shifting experience of viewing light sources through the lens of a rapidly changing technological world. The work avoids static representation, instead offering a dynamic visual experience that engages the viewer through colour theory and geometric rhythm. By breaking down the image into these prismatic components, Delaunay invites an analysis of how the eye perceives light and colour in motion. The painting remains a clear example of her ability to translate the sensory experience of modernity into a structured, abstract language that prioritises the autonomy of colour.
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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
Electric Prisms - 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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