Revolution 1968 - Sonia Delaunay
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A striking 1968 lithograph by Sonia Delaunay, featuring her signature use of concentric circles and bold, rhythmic colour blocks.
This lithograph by Sonia Delaunay, titled Revolution 1968, captures the artist's lifelong engagement with the interplay of colour and geometric form. Delaunay, a central figure in the development of Orphism, utilised concentric circles and intersecting arcs to create a sense of rhythmic movement across the picture plane. The composition relies on the juxtaposition of saturated hues against neutral tones, a technique she refined throughout her career in both fine art and textile design.
The work features a series of overlapping circular segments that expand from a dark, central core. By layering these shapes, Delaunay generates a dynamic visual energy that avoids static representation. The use of high-contrast colour blocks, including lime green, deep blue, and bright red, demonstrates her mastery of simultaneous contrast, a theory she explored alongside her husband, Robert Delaunay. The textured areas, rendered with fine, hatched lines, provide a tactile quality that balances the flat, opaque fields of colour.
Created in 1968, the piece reflects the aesthetic language Delaunay developed over several decades. Her approach to abstraction prioritised the autonomy of colour, allowing it to function as the primary subject rather than a descriptive tool. The inclusion of the text 'REVOLUTION 1968' at the base anchors the abstract forms within a specific historical moment, yet the visual structure remains rooted in the universal principles of geometry and light. This print offers a clear example of her ability to translate complex theoretical concepts into accessible, graphic compositions. The balance between the rigid circular geometry and the fluid application of pigment creates a tension that is characteristic of her later graphic work. It is a study in how simple shapes, when arranged with precision, can convey a sense of momentum and structural harmony.
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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
Revolution 1968 - 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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