Robert Delaunay

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Robert Delaunay (born in 1885) was a French artist who co-founded the Orphism art movement, with his partner Sonia Delaunay and others, who is best known for its use of vibrant colors and geometric shapes.

His later works were more abstract.

His key influence was related to bold use of colour and a strong love of experimentation with both depth and tone.

Early life

Robert Delaunay was born in Paris and was the son of George Delaunay and Countess Berthe Félicie de Rose. Although he was a child, Delaunay's parents divorced, and his mother's sister Marie and her husband Charles Damour were raised in La Ronchère, near Bourges. When he failed his final examination and said he wanted to become a painter, his uncle in 1902 accompanied him to Ronsin's atelier to study Decorative Arts in the Belleville district of Paris.

Delaunay, a 19-year-old boy, urged Ronsin to concentrate entirely on painting and six works were included in the Salon des Indépendants. He went to Brittany, where he was inspired by Pont-Aven's group; and, in 1906, he contributed work he painted in Brittany to the 22nd Salon des Indépendants, where he met Henri Rousseau.

Delaunay and Jean Metzinger, with whom he shared an exhibition at a gallery owned by Berthe Weill early in 1907, developed a close friendship. In 1907, the two of them were identified as Divisionists who used massive, mosaic-like 'cubes' to create small but highly symbolic compositions.

"Metzinger's Neo-Impressionist period was much longer than that of his close friend Delaunay..." says Robert Herbert. In 1906 and 1907, Neo-Impressionist sculpture in which he and Delaunay did portraits of each other (Art market, London, and Museum of Fine Arts, Houston) in large rectangles of pigment (Art market, London). (Nothing exists in the sky of Coucher de soleil.) The solar disk, which Delaunay later converted into a personal emblem, was on display at the Rijksmuseum Kröller-Müller collection in 1906, 007." Herbert depicts Metzinger's painting, as well as Delaunay's Paysage au disque (1906-07), as "an homage to the decomposition of spectral light that lay at the center of Neo-Impressionist color theory."

Metzinger, followed closely by Delaunay, who were both painting in 1906 and 1907, would produce a new sub-type of Neo-Impressionism that was of utmost importance shortly thereafter in the context of their Cubist paintings. About 1909, Piet Mondrian developed a similar mosaic-like Divisionist method. Later (1909-1916), the Futurists would bring the style of Gino Severini's Parisian paintings (from 1907 to 1918) into their dynamic paintings and sculpture.

He first met Sonia Terk in 1908, during her time as a military librarian working as a regimental librarian; at the time, she was married to a German art dealer and whose divorce was soon to come. Delaunay began to paint a series of studies about the city of Paris and the Eiffel Tower, which was part of the Eiffel Tower series.

He married Terk the following year, and the couple and his son Charles were born in January 1911 in Paris, where they were born in a studio apartment. Delaunay, a Munich-based group of artists, formed The Blue Rider (Der Blaue Reiter), the same year as Wassily Kandinsky's invitation, Delaunay. Delaunay's success in Germany, Switzerland, and Russia. He exhibited in Munich's first Blau Reiter exhibition and sold four works. Blaue Reiter's paintings evoked an ecstatic reaction. The Blaue Reiter links led to Erwin von Busse's article "Robert Delaunay's Methods of Composition," which appeared in the 1912 Blaue Reiter Almanac. In the second Blau Reiter exhibition in Munich and Knave of Diamonds in Moscow, Delaunay will exhibit in February.

"This happened in 1912." Cubism was in full throttle. Compared to my Cubism peers' creations, I made paintings that looked like prisms. I was the heretic of Cubism. With my comrades who barred color from their palette, I had spirited arguments, depriving it of all elemental mobility. I was accused of returning to Impressionism, of making decorative paintings, etc., so I think I'd about my goal."

Delaunay's 1912 turnabout was a turning point for the area. After two weeks at the Galerie Barbazanges, his first major exhibition in Paris, on March 13, was closed. The exhibition, curated by French mathematician and actuary Maurice Princet, displayed forty-six works from his early 1906-1907 Divisionist period to his Proto-Cubist and Cubist Eiffel Tower paintings from 1909 to 1912. Those works of the exhibition were lauded by Apollinaire, who named Delaunay as "an artist with a monumental vision of the world."

The first published report that Delaunay had broken with this group of Cubists appeared in James Burkley's review of the Salon des Indépendants appeared in the 23 March 1912 issue of the satirical journal L'Assiette au Beurre. Burkley wrote, "The "Cubists," who occupied just a room, have multiplied. Picasso and Braque's leaders have not participated in their grouping, and Delaunay, who has been widely described as a Cubist, has decided not to identify himself and claims he has nothing in common with Metzinger or Le Fauconnier.

Delaunay, Apollinaire, descended on Berlin in January 1913 for an exhibition of his work at Galerie Der Sturm. The two stayed in Bonn, where Macke introduced them to Max Ernst on their way back to Paris. When his painting La ville de Paris was refused by the Armory Exhibition for being too large, he ordered Samuel Halpert to delete all his artwork from the show.

Sonia and Robert were residing in Fontarabie, Spain, at the outbreak of the First World War in 1914. They decided not to return to France but rather settled in Madrid. Samuel Halpert and Eduardo Viana shared a home in Portugal in August 1915. They talked to Viana and her colleague Amadeo de Souza Cardoso (whom the Delaunays had already met in Paris) and José de Almada Negoiros about an artistic collaboration. Robert, the first confirmed deserter, was declared unfit for military service at the French consulate in Vigo on June 23, 1916.

Sonia's family's financial assistance was put to an end in Russia during the Russian Revolution, and a new source of income was needed. Sergei Diaghilev met in Madrid in 1917, and the Delaunays were enraged. Robert conceived the stage for his production of Cleopatra (costume design by Sonia Delaunay). Vicente Huidobro's Tour Eiffel is depicted by Robert Delaunay.

In 1920, Paul Poiret decided against a business relationship with Sonia, citing as one of the reasons for her marriage to a deserter. The Der Sturm gallery in Berlin displayed works by Sonia and Robert from their Portuguese period the same year.

They returned to Paris after the war in 1921. Delaunay continued to work in both figurative and abstract styles, with a brief glimpse into Surrection. André Breton and Tristan Tzara, who introduced him to both Dadaists and Surrealists, were delayed. Delaunay was instrumental in the creation of the railway and air travel pavilions at the 1937 World Fair in Paris.

The Delaunays migrated to Auvergne in an attempt to prevent the invasion of German forces that had erupted. Delaunay, who was suffering from cancer, was unable to get around, and his health was worsened. He died of cancer in Montpellier on October 25, 1941 at the age of 56. In 1952, his body was reburied in Gambais.

(1921-1941) Return to Paris and later life (1921–1941).

They returned to Paris after the war in 1921. Delaunay continued to create in both literal and abstract styles, with a brief glimpse at Surrealism. André Breton and Tristan Tzara, who introduced him to both Dadaists and Surrealists, were present in Delaunay. Delaunay participated in the establishment of the railway and air travel pavilions during the 1937 World Fair in Paris.

The Delaunays migrated to Auvergne, in an attempt to block the invaded German forces. Delaunay, who was suffering from cancer, was unable to move around, and his health was also deteriorating. He died of cancer in Montpellier on October 25, 1941, at the age of 56. In 1952 in Gambais, his body was reburied.

Source

Career beginnings

Delaunay's age 1932, when Ronsin was first exposed to painting entirely, and he also contributed six works to the Salon des Indépendants. He travelled to Brittany, where he was inspired by the Pont-Aven group; and, in 1906, he contributed works he painted in Brittany to the 22nd Salon des Indépendants, where he first met Henri Rousseau.

Delaunay and Jean Metzinger, with whom he shared an exhibition with a Berthe Weill gallery early in 1907, developed a close relationship. In 1907, the two of them were identified as Divisionists who used large, mosaic-like cubes to create small but symbolic compositions.

"Metzinger's Neo-Impressionist period was much longer than that of his close friend Delaunay..." says Robert Herbert. In 1906 and 1907, his Neo-Impressionist paintings were in production (Art market, London, and Museum of Fine Arts, Houston), which revealed large rectangles of pigment. (No one appears in the sky of Coucher de soleil). The solar disk, which Delaunay later converted into a personal emblem, was on display in the Museum Kröller-Müller collection from 1906 to 2007." Herbert describes Metzinger's painting's vibrant image of the sun as "an homage to the decomposition of spectral light that lay at the root of Neo-Impressionist color theory" (see also Delaunay's Paysage au disque (1906-07).

Metzinger, closely followed by Delaunay, who were both painting in 1906 and 1907 together, would produce a new sub-Impressionism style that would have a lot of significance shortly thereafter within the context of their Cubist art. Around 1909, Piet Mondrian invented a similar mosaic-like Divisionist technique. Later (1909–1916), the Futurists would incorporate the style of Gino Severini's Parisian works (from 1907 to 1916), into their dynamic paintings and sculpture.

He met Sonia Terk in 1908, while working as a regimental librarian, at the time she was married to a German art dealer who would shortly divorce. Delaunay began to do a series of investigations of the city of Paris and the Eiffel Tower, the Eiffel Tower sequence, in 1909.

He married Terk the following year, and the couple and their son Charles were born in January 1911 in Paris. Delaunay, Delaunay's niece, The Blue Rider (Der Blaue Reiter), a Munich-based group of artists, formed the same year. Delaunay was also successful in Germany, Switzerland, and Russia. He was in Munich for the first Blaue Reiter exhibition, where he sold four works. With Blaue Reiter's paintings, Delaunay's paintings evoked an enthusiastic reaction. Erwin von Busse's "Robert Delaunay's Composition," an article in the 1912 Blau Reiter Almanac, was connected to the Blaue Reiter connection. Delaunay will debut in February of this year in Munich and Knave of Diamonds, Moscow's second Blau Reiter exhibition.

"This happened in 1912." Cubism was on full throttle. Compared to the Cubism paintings my fellow artists were making, I made paintings that seemed to be prisms. I was the heretic of Cubism. I had spirited discussions with my comrades who outlawed color from their palette, thus depriving it of any elemental mobility. I had been accused of returning to Impressionism, creating decorative paintings, etc., so I had already met my target."

Delaunay's 1912 was a turning point for the city. After two weeks at the Galerie Barbazanges, his first major exhibition in Paris closed on March 13th. The retrospective, arranged by French mathematician and actuary Maurice Princet, featured forty-six works from his early 1906-07 Divisionist period to his Proto-Cubist and Cubist Eiffel Tower paintings from 1909 to 1912. Apollinaire lauded those works of the exhibition and named Delaunay as "an artist with a monumental vision of the world."

In James Burkley's review of the Salon des Indépendants, the first published report that Delaunay had broken with this group of Cubists appeared in the 1912 issue of the satirical journal L'Assiette au Beurre, the first published report that proved otherwise. "The "Cubists," who occupied only a room, have multiplied, Burkley wrote. Picasso and Braque haven't participated in their grouping, while Delaunay, who has been affectionately referred to as a Cubist, wants to distinguish himself and says he has nothing in common with Metzinger or Le Fauconnier.

Delaunay, Apollinaire, delaunay, and his colleagues went to Berlin in January 1913 for an exhibition of his work at Galerie Der Sturm. The two stayed with August Macke in Bonn, where Macke introduced them to Max Ernst on their way back to Paris. When his painting La ville de Paris was refused by the Armory Exhibition for being too large, he begged Samuel Halpert to remove all his works from the show.

Sonia and Robert were staying in Fontarabie, Spain, at the start of the First World War in 1914. They opted not to return to France but settled in Madrid. They moved to Portugal in August 1915, where they shared a house with Samuel Halpert and Eduardo Viana. Viana and her colleagues Amadeo de Souza Cardoso (whom the Delaunays had already met in Paris) and José de Almada Negoiros discussed an artistic collaboration. Robert was first announced a deserter at the French consulate in Vigo on June 23, 1916, and he was deemed unfit for military service.

Sonia's financial assistance came to an end, and a new source of income was required. Sergei Diaghilev met in Madrid in 1917. Robert conceived the stage for his production of Cleopatra (costume design by Sonia Delaunay). Vicente Huidobro's Robert Delaunay illustrates Tour Eiffel for Vicente Huidobro.

Paul Poiret refused to work with Sonia in 1920, citing as one of the reasons for her marriage to a deserter. Sonia and Robert's works from their Portuguese period were on display at the Berlin Der Sturm gallery in the same year.

They returned to Paris after the war in 1921. Delaunay continued to work in both figurative and abstract styles, as well as a brief stint in Surrealism. Delaunay met André Breton and Tristan Tzara, who introduced him to both Dadaists and Surrealists. Delaunay was instrumental in the construction of the railway and air travel pavilions at the 1937 World Fair in Paris.

The Delaunays moved to Auvergne in an attempt to repel the invading German forces during World War II. Delaunay, who was suffering from cancer, was unable to move around, and his health was worsened. He died of cancer in Montpellier on October 25, 1941 at the age of 56. In 1952, his body was discovered in Gambais, where it was reburied.

Source