Her Paintings, Her Objects - Sonia Delaunay
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Beskrivning
A striking lithograph by Sonia Delaunay, featuring a rhythmic arrangement of geometric patterns, chevrons, and abstract forms in a bold, modern palette.
Sonia Delaunay was a central figure in the development of Orphism, a movement that prioritised the use of colour and geometric form to create a sense of rhythm and movement. This lithograph, titled Her Paintings, Her Objects, demonstrates her mastery of non-representational design. The composition is divided into distinct panels, each exploring a different visual language.
On the left, a series of chevrons creates a rhythmic, repetitive pattern using a palette of blue, grey, red, and green. The top centre panel features circular motifs, while the bottom centre panel presents a stark, black-and-white arrangement of fragmented shapes. The right panel introduces angular, linear forms in red and black, which contrast with the softer curves found elsewhere in the work.
Throughout her career, Delaunay applied these principles of abstraction to various media, including textiles, fashion, and book design. She believed that art should not be confined to the canvas but should instead permeate daily life. This print captures the essence of her approach, where the interaction between shape and colour generates a dynamic visual experience. The clean lines and balanced composition reflect her interest in the relationship between light and form. By stripping away representational imagery, she invites the viewer to focus on the pure mechanics of visual perception. This work is a clear example of her ability to synthesise disparate geometric elements into a cohesive whole, maintaining a sense of order while exploring the possibilities of abstract expression.
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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
Her Paintings, Her Objects - 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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