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Sonia Delaunay (French: [sɔnja dəlonɛ]; 14 November 1885 – 5 December 1979) was a French artist born to Jewish parents, who spent most of her working life in Paris.She was born in the Russian Empire, now Ukraine, and was formally trained in Russia and Germany, before moving to France and expanding her practice to include textile, fashion, and set design.
La prose du Transsibérien et de la Petite Jehanne de France (Prose of the Trans-Siberian and of Little Jehanne of France) is a collaborative artists' book by Blaise Cendrars and Sonia Delaunay-Terk. The book features a poem by Cendrars about a journey through Russia on the Trans-Siberian Express in 1905, during the first Russian Revolution ...
File information Description Sonia Delaunay, 1914, Prismes électriques, oil on canvas, 250 x 250 cm, Musée National d'Art Moderne. Source State of the Modern Art World, The Essence of Cubism and its Evolution in Time, Coldcreation, 30 Nov. 2011
Robert Delaunay (French: [ʁɔbɛʁ dəlonɛ]; 12 April 1885 – 25 October 1941) was a French artist of the School of Paris movement; [1] who, with his wife Sonia Delaunay and others, co-founded the Orphism art movement, noted for its use of strong colours and geometric shapes.
The Salon des Réalités Nouvelles is an association of artists and an art exhibition in Paris, focusing on abstract art.. A first exhibition with the name was held in 1939 in Galerie Charpentier, [1] organised by Robert Delaunay, Sonia Delaunay, Nelly van Doesburg and Fredo Sidès.
Sonia Delaunay's Bal Bullier is a painting known for both its use of color and movement.. The three-act lyrical comedy La Rondine by Italian composer Giacomo Puccini, premiered in 1917 at the Monte Carlo Opera House, takes place in the second act in the Bal Bullier.
File information Description Sonia Delaunay, Blaise Cendrars, 1913, La prose du Transsibérien et de la Petite Jehanne de France, illustrated book with watercolor applied through pochoir and relief print on paper, 200 x 35.6 cm, Princeton University Art Museum
Louis Vauxcelles, in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier, as "ignorant geometers, reducing the human body, the site, to pallid cubes." [15] The work of Metzinger, Le Fauconnier and Robert Delaunay were exhibited together.