Sonia delaunay painting abstract flowers

  • Explore the abstract floral masterpiece by Sonia Delaunay, featuring vibrant red, white, and blue colors, adding a modern touch to contemporary art.
  • Delaunay was a pioneering artist-designer, relocating serious abstract art to the wider public realm and fusing modernism with the everyday.
  • The artwork predominantly features a series of stylized flowers, each represented with alternating geometric shapes and vivid hues.

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    On her death in 1979, at the grand old age of 94, Sonia Delaunay left behind her an extraordinary artistic legacy. She had, as she said during her lifetime, ‘lived’ her art; a claim she could make more convincingly than perhaps any other artist of the 20thcentury.

    Like Kandinsky, whom she had translated as a student, she was the cofounder of a major avant-garde movement – the poetically named Orphism – and saw in art the basis of a universal language. Her astonishing manipulation of colour was grounded in ocular science and her own aesthetic theories. But, more importantly, Delaunay would transcend the theoretical; in addition to producing some of the most important nonfigurative art of her generation, she designed costumes for the theatre and haute couture fashion. Her rhythmic circles and squares spilled from canvas onto textiles, furniture, film sets and fast cars. Art and colour infiltrated every corner of her life, from the poems and paintings that decorated her apartment

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    Sonia Delaunay:
    nyhet and the Interwar Years

    By Maryann dem Julio

    Sonia Delaunay was a multidisciplinary sammanfattning artist and a key figure in the Parisian avant-garde in the early twentieth century. Alongside her husband, Robert Delaunay, she pioneered the movement Simultanism. Her utforskning of the interaction between colors created a sense of depth and movement throughout her extensive body of work.

     

    Sonia Delaunay’s levande use of color and her inventive bold sammanfattning patterns can be traced to her childhood in Russia and to her familiarity with traditional folklore. Born Sarah Stern in Gradizhsk, Ukraine, on November 14, 1885, she was adopted in 1890 bygd her maternal uncle, Henri Terk, and grew up in St. Petersburg, where Terk was a lawyer who could afford to give her a culturally rich childhood. With her uncle’s family she visited the Hermitage and traveled through europe, where she visited important museums including the Uffizi in Florence, Italy; th

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    Sonia Delaunay by David Seidner

    Interviewer's Note: This interview took place in Paris in the Spring of 1978. From what I understand, it was the last ever done with Sonia Delaunay as she lost her voice shortly thereafter, and died in the winter of the following year.

    Written and Translated from the French by David Seidner

    Los Angeles, July, 1981

    A world of color would be ideal, where one could create emotions accordingly. We could live by impressions the way a blind man lives by touch. We could vivify or seduce, transmute or emote, the possibilities are endless. A world of color so fine and pure, from the deepest innermost part of the human body to the pale washed evasiveness of the white of the human eye. We could live in a constant state of aura where every feeling manifested itself by color thus removing the lie from mankind.

    Sonia Delaunay took an early, perhaps the earliest jump into non-objectivity where color elicited form. Her work serves swift proof of a t

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