Rhythm Colour - Sonia Delaunay
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Beskrivning
A striking abstract lithograph by Sonia Delaunay, featuring a dynamic arrangement of geometric shapes and primary colours.
Sonia Delaunay, a central figure in the development of Orphism, focused her practice on the interaction of colour and geometric form. This work, Rhythm Colour, demonstrates her interest in the concept of simultaneity. By placing contrasting shapes and hues in close proximity, she creates a sense of movement across the two-dimensional surface. The composition relies on the balance between circular forms and angular, geometric planes.
The print features a deliberate arrangement of primary colours, including red, yellow, and blue, alongside secondary green and textured grey sections. These elements do not represent physical objects, but rather explore the optical effects of colour theory. Delaunay often applied these principles to both fine art and textile design, seeking to integrate art into daily life. Her approach avoids traditional perspective, opting instead for a flat, graphic quality that emphasises the surface of the paper.
Throughout her career, Delaunay experimented with the relationship between light and motion. This piece reflects her later period, where her visual language became refined into clear, bold shapes. The inclusion of hatched, grey areas provides a textural contrast to the flat, solid blocks of colour. This interplay between smooth surfaces and linear mark-making adds a layer of complexity to the otherwise minimalist structure. As a practitioner of abstract art, Delaunay sought to evoke a sensory response through the arrangement of pure form. This print is an example of her ability to maintain a sense of order within a dynamic, non-representational framework. It remains a clear representation of her contribution to twentieth-century abstraction, focusing on the rhythmic potential of colour relationships.
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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
Rhythm Colour - 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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