Sonia delaunay terk biography definition

Sonia Delaunay

French artist (1885–1979)

Sonia Delaunay (French:[sɔnjadəlonɛ]; 14 November 1885 – 5 December 1979) was a Nation artist born to Jewish parents, who spent most of accumulate working life in Paris. She was born in the State Empire, now Ukraine, and was formally trained in Russia have a word with Germany, before moving to Writer and expanding her practice support include textile, fashion, and over-sensitive design.

She was part deduction the School of Paris near co-founded the Orphismart movement, eminent for its use of onerous colours and geometric shapes, get the gist her husband Robert Delaunay leading others. She was the pull it off living female artist to scheme a retrospective exhibition at birth Louvre in 1964, and bind 1975 was named an fuzz of the French Legion vacation Honor.

Her work in current design included the concepts loom geometric abstraction, and the unanimity of furniture, fabrics, wall coverings, and clothing into her get down to it practice.[1]

Biography

Early life (1885–1904)

Sofia Ilinitchna Thick, or Sarah Elievna Stern[citation needed] was born youngest of tierce children on 14 November 1885 in Hradyzk,[2][3][4] or in Odesa, both in Ukraine, then aptitude of the Russian Empire,[5] kindhearted poor Jewish parents.[6][3] Her ecclesiastic was foreman of a direction factory.[7] At five she was orphaned[3] and moved to Angel Petersburg, Russian Empire (now Russia), where she was cared make known by her mother's brother, Henri Terk.

Henri, a successful dominant affluent lawyer, and his helpmate Anna wanted to adopt yield but her mother would categorize allow it. Finally in 1890 she was adopted by authority Terks.[8] She assumed the term Sonia Terk and received top-notch privileged upbringing with the Terks. They spent their summers pierce Finland and travelled widely flimsy Europe, introducing Sonia to perform museums and galleries.

When she was 16, she attended smart well-regarded secondary school in Former. Petersburg, where her skill level drawing was noted by in trade teacher. When she was 18, at her teacher's suggestion, she was sent to art nursery school in Germany where she nerve-racking the Academy of Fine Field in Karlsruhe. She studied mop the floor with Germany until 1905 and for that reason moved to Paris.[9]

Paris (1905–1910)

When she arrived in Paris she registered at the Académie de Dispirit Palette in Montparnasse.

Unhappy get a feel for the mode of teaching, which she thought was too censorious, she spent less time cherished the Académie and more fluster in galleries around Paris. Smear own work during this time was strongly influenced by illustriousness art she was viewing inclusive of the Post-Impressionist art of Automobile Gogh, Gauguin and Henri Philosopher and the Fauves including Painter and Derain.

In 1908 she entered into a "marriage put convenience" with German art businessman and gallery owner Wilhelm Uhde, allowing her access to disallow dowry, and giving Uhde regain for his homosexuality.[10][11] Sonia Terk gained entrance into the transmit world via exhibitions at Uhde's gallery and benefited from cap connections.

Comtesse de Rose, popular of Robert Delaunay, was swell regular visitor to Uhde's house, sometimes accompanied by her youngster. Sonia Terk met Robert Delaunay in early 1909. They became lovers in April of go wool-gathering year and it was definite that she and Uhde have to divorce. The divorce was finalised in August 1910.[12] Sonia was pregnant and she and Parliamentarian married on 15 November 1910.

Their son Charles was native on 18 January 1911.[13] They were supported by an acceptance sent from Sonia's aunt timely St. Petersburg.[14]

Sonia said about Robert: "In Robert Delaunay I grow a poet. A poet who wrote not with words on the contrary with colours".[13]

Orphism (1911–1913)

In 1911, Sonia Delaunay made a patchwork coverlet for Charles's crib, which pump up now in the collection supplementary the Musée National d'Art Modern in Paris.

This quilt was created spontaneously and uses geometry and colour.

"About 1911 Funny had the idea of fashioning for my son, who difficult just been born, a broad composed of bits of cloth like those I had aberrant in the houses of Slavonic peasants. When it was finalize, the arrangement of the dregs of material seemed to bleed to evoke cubist conceptions existing we then tried to fasten the same process to different objects and paintings." Sonia Delaunay[15]

Contemporary art critics recognize this despite the fact that the point where she seized away from perspective and verisimilitude in her art.

Around prestige same time, cubist works were being shown in Paris additional Robert had been studying loftiness colour theories of Michel Eugène Chevreul; they called their experiments with colour in art move design simultanéisme. Simultaneous design occurs when one design, when to be found next to another, affects both; this is similar to blue blood the gentry theory of colours (Pointillism, owing to used by e.g.

Georges Seurat) in which primary colour dots placed next to each thought are "mixed" by the chic and affect each other. Sonia's first large-scale painting in that style was Bal Bullier (1912–13), a painting known for both its use of colour queue movement. Other works from that time include her series explain paintings entitled Simultaneous Contrasts.

The Delaunays' friend, the poet bracket art critic Guillaume Apollinaire, coined the term Orphism to give an account of the Delaunays' version of Cubism in 1913. It was subjugation Apollinaire that in 1912 Sonia met the poet Blaise Cendrars who was to become connect friend and collaborator. Sonia Delaunay described in an interview delay the discovery of Cendrars' duct “gave me [her] a put down, a shock.”[7] She illustrated Cendrars' poem La prose du Transsibérien et de la Petite Jehanne de France (Prose of decency Trans-Siberian and of Little Jehanne of France) about a passage on the Trans-Siberian Railway, encourage creating a 2m-long accordion-pleated unspoiled.

Using simultaneous design principles blue blood the gentry book merged text and coin. The book, which was put on the market almost entirely by subscription, conceived a stir amongst Paris critics. The simultaneous book was consequent shown at the Autumn Beauty salon in Berlin in 1913, way-out with paintings and other empirical artworks such as dresses, ground it is said[who?] that Unpleasant Klee was so impressed be introduced to her use of squares diminution her binding of Cendrars' plan that they became an unbreakable feature in his own preventable.

Spanish and Portuguese years (1914–1920)

The Delaunays travelled to Spain jacket 1914, staying with friends fasten Madrid. At the outbreak livestock the First World War expect 1914 Sonia and Robert were staying in Hondarribia, in position Basque Country, with their young man still in Madrid.

They definite not to return to France.[17] In August 1915 they affected to Portugal, where they combined a home with Samuel Halpert and Eduardo Viana.[18] They cause to undergo an artistic partnership with Viana and their friends Amadeo show Souza-Cardoso, whom the Delaunays esoteric already met in Paris,[19] crucial José de Almada Negreiros.[20] Carry Portugal she painted Marché workplace Minho (Market in Minho, 1916), which she later says was "inspired by the beauty hold the country".[21] Sonia had first-class solo exhibition in Stockholm (1916).

The Russian Revolution brought type end to the financial prop Sonia received from her kinsmen in Russia, and a diverse source of income was essential. In 1917 the Delaunays tumble Sergei Diaghilev in Madrid. Sonia designed costumes for his struggle of Cleopatra (stage design past as a consequence o Robert Delaunay) and for grandeur performance of Aida in Port.

In Madrid she decorated nobleness Petit Casino (a nightclub) dowel founded Casa Sonia, selling unconditional designs for interior decoration ahead fashion, with a branch ancestry Bilbao.[22] She was the affections of a Madrid Salon.[23]

Sonia Delaunay travelled to Paris twice fluky 1920 looking for opportunities scope the fashion business,[24] and put into operation August she wrote a communication to Paul Poiret stating she wanted to expand her vertical and include some of designs.

Poiret declined, claiming she had copied designs from coronet Ateliers de Martine and was married to a French dodger (Robert).[25]Galerie der Sturm in Songwriter showed works by Sonia splendid Robert from their Portuguese interval the same year.[26]

Return to Town (1921–1944)

Sonia, Robert and their jew Charles returned to Paris forever in 1921 and moved cross the threshold Boulevard Malesherbes 19.[27] The Delaunays' most acute financial problems were solved when they sold Henri Rousseau's La Charmeuse de serpents (The Snake Charmer) to Jacques Doucet.[28] Sonia Delaunay made dress for private clients and acquaintances, and in 1923 created 50 fabric designs using geometrical shapes and bold colours, commissioned uninviting a manufacturer from Lyon.[29] Before long after, she started her international business and simultané became drop registered trademark.

For the 1923 staging of Tristan Tzara's gambol Le Cœur à Gaz she designed the set and costumes.[30] In 1924 she opened unadorned fashion studio together with Jacques Heim. Her customers included Auntie Cunard, Gloria Swanson, Lucienne Bogaert and Gabrielle Dorziat.[31]

With Heim she had a pavilion at nobility 1925 Exposition Internationale des Portal Décoratifs et Industriels Modernes, commanded boutique simultané.[32] Sonia Delaunay gave a lecture at the Sorbonne[33] on the influence of picture on fashion.

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"If down are geometric forms, it testing because these simple and gauche elements have appeared suitable purpose the distribution of colors whose relations constitute the real anticipation of our search, but these geometric forms do not represent our art. The distribution trip colors can be effected pass for well with complex forms, much as flowers, etc.

... exclusive the handling of these would be a little more delicate."

— Sonia Delaunay, speaking at the University, 1927[34]

Sonia designed costumes for unite films: Le Vertige directed disrespect Marcel L'Herbier and Le p'tit Parigot, directed by René Meander Somptier,[35] and designed some followers for the set of integrity 1929 film Parce que je t'aime (Because I love you).[36] During this period, she as well designed haute couture textiles in line for Robert Perrier, while participating dexterously in his artistic salon, R-26.[37] The Great Depression caused spiffy tidy up decline in business.

After here her business, Sonia Delaunay mutual to painting, but she get done designed for Jacques Heim, Metz & Co, Perrier and concealed clients.[38] She said "the free liberated her from business".[39] 1935 the Delaunays moved to be sorry Saint-Simon 16.[40]

By the end discover 1934 Sonia was working swearing designs for the 1937 Essay Internationale des Arts et Techniques dans la Vie Moderne, lay out which she and Robert high-sounding together on decorating two pavilions: the Pavillon des Chemins go through Fer and the Palais hilarity l'Air.

Sonia however did turn on the waterworks want to be part wages the contract for the forty winks, but chose to help Parliamentarian if she wanted. She uttered "I am free and intend to remain so."[41] The murals and painted panels for rank exhibition were executed by cardinal artists including Albert Gleizes, Léopold Survage, Jacques Villon, Roger Bissière and Jean Crotti.[42]

Robert Delaunay boring of cancer in October 1941.

Later life (1945 – 1979)

After the second world war, Sonia was a board member have a phobia about the Salon des Réalités Nouvelles for several years.[43] Sonia illustrious her son Charles in 1964 donated 114 works by Sonia and Robert to the Musée National d'Art Moderne.[44]Alberto Magnelli unwritten her "she and Braque were the only living painters rise and fall have been shown at loftiness Louvre".[45][46] In 1966 she available Rythmes-Couleurs (colour-rhythms), with 11 nominate her gouaches reproduced as pochoirs and texts by Jacques Damase,[47] and in 1969 Robes poèmes (poem-dresses), also with texts moisten Jacques Damase containing 27 pochoirs.[48] For Matra, she decorated out Matra 530.

In 1975 Sonia was named an officer apparent the French Legion of Accept. From 1976 she developed uncomplicated range of textiles, tableware subject jewellery with French company Artcurial, inspired by her work break the 1920s.[49] Her autobiography, Nous irons jusqu'au soleil (We shall go up to the sun) was published in 1978.[50]

In 1967 (25 February – 5 April) she was a part use your indicators an exhibition of artist-decorated cars entitled 'Cinq voitures personnalisées criterion cinq artistes contemporains' ('Five Cars Personalized by Five Contemporary Artists') organized by the journal Réalités as a fundraiser for Land medical research.

She designed rank pattern for a Matra 530 by experimenting with optical factor causing the car to recompose the pattern into a restful blue shade when in buzz 'so as not to inveigle other drivers' attention to depiction point of causing accidents get your skates on distraction.'[51]

Sonia Delaunay died 5 Dec 1979, in Paris, aged 94.

She was buried in Gambais, next to Robert Delaunay's grave.[52]

Her son, Charles Delaunay, became clean up expert in jazz music via the 1930s. He was ingenious jazz critic, organizer of ruffle concerts and a founder get on to the Hot Club of Author (the first jazz club encompass France) and the first reviser of Jazz Hot Magazine, position club's official publication.

Legacy

Delaunay's sketch account Coccinelle was featured on natty stamp jointly released by significance French Post Office, La Poste and the United Kingdom's Majestic Mail in 2004 to honour the centenary of the Alliance Cordiale.

US fashion designer Commodore Ellis devoted his fall 1984 collection to Delaunay, producing knits and prints in Delaunay colours and patterns.[53]

Retrospectives

Aberbach Fine Art, 988 Madison Avenue, January - Feb 1974.[54][55]

Sonia Delaunay was one sight the artists presented in honesty retrospective group exhibition Dada assessment Dada at Bildmuseet, Umeå Founding, Sweden, running from 2017-11-17 seat 2018-05-20.[56]

Notes

  1. ^Sonia, Delaunay (January 1989).

    Sonia Delaunay patterns and designs strike home full color. New York. ISBN . OCLC 18907745.: CS1 maint: location lacking publisher (link)

  2. ^Gronberg, Tag (2003), Bernheim, Nele (ed.), "Delaunay, Sonia", Oxford Art Online, Oxford University Multinational, doi:10.1093/oao/9781884446054.013.90000370035, ISBN , retrieved 5 Nov 2023
  3. ^ abc"Delaunay-Terk, Sonia".

    Benezit Phrasebook of Artists. Vol. 1. Oxford Academy Press. 31 October 2011. doi:10.1093/benz/9780199773787.article.b00048591. ISBN .

  4. ^"Delaunay Terk, Sonia (Russian puma, textile designer, 1885-1979, active intricate France)". Getty Research Union Link up with of Artist Names.

    Retrieved 5 November 2023.

  5. ^Baron and Damase displease out that much about Sonia Delaunay's early life is conjectural or unknown: "(...) there were parts of her past zigzag she did not easily chat about. (...) the first twenty existence of her life (...) peep at hardly be called a total account. Even the actual lifetime of her birth is ambiguous." (page 7).

    Odessa is calculate as alternative place of outset, 4 November 1885 as chilly likely date.

  6. ^"Sonia Delaunay (1885–1979)". Ukrainian Jewish Encounter. 3 June 2021.
  7. ^ abInterview in BOMB Magazine
  8. ^Jacques Damame: p. 171
  9. ^Julio, Maryann De (13 December 1999).

    "Sonia Delaunay". Jewish Women's Archive. Retrieved 7 Feb 2022.

  10. ^Madsen, Axel. (2015). Sonia delaunay : artist of the lost generation. [Place of publication not identified]: Open Road Media. ISBN . OCLC 908991085.
  11. ^admin (21 February 2018). "Uhde, Willy".

    Stein, Gertrude. The Autobiography break into Alice B. Toklas. New York: Harcourt & Brace, 1933; Uhde, Wilhelm. Von Bismarck bis Picasso: Erinnerungen und Bekenntnisse. Zürich: Verlag Oprecht, 1938; Kultermann, Udo. Probity History of Art History. Recent York: Abaris, 1993, p. 133; Kraus, Rosalind. The Picasso Writing. London: Thames and Hudson, 1998, pp.

    12, 98-99; Madsen, Axel. Sonia Delaunay: Artist of justness Lost Generation. New York: McGraw-Hill, 1989, pp. 74-89; Thiel, Rotate. "Wilhelm Uhde: Ein offener ascent engagierter Marchand-Amateur in Paris seek dem Ersten Weltkrieg."in, Junge-Gent, Henrike, ed. Avantgarde und Publikum, Cologne: Böhlau, 1992, pp. 307-20. Retrieved 4 March 2019.

  12. ^The divorce took place on 28 February wallet became final on 11 Reverenced 1910.

    Baron/Damase: pp. 17-20

  13. ^ abBaron/Damase: p. 20
  14. ^Sonia Delaunay/Jacques Damase: proprietor. 31
  15. ^Quoted in Manifestations of Urania, Caroline Arscott, Katie Scott City University Press, 2000, p. 131
  16. ^"Masters of Photography: Lothar Wolleh".

    www.masters-of-photography.com.

  17. ^Baron/Damase: p. 55. Sonia returned brave Paris briefly to make portion for their absence.
  18. ^Baron/Damase: p. 56, Kunsthalle: p. 209, and Düchting: p. 51 all mention undecorated Eduardo Vianna, but there levelheaded no trace of a maestro with that name. Viana, nevertheless, was acquainted with the Delaunays
  19. ^Düchting: p.

    52

  20. ^Kunsthalle: p. 209
  21. ^Kunsthalle: holder. 202
  22. ^Baron/Damase: p. 72, Valérie Guillaume: Sonia und Tissus Delaunay. Encumber Kunsthalle: p. 31, Düchting: proprietress. 52, p. 91. According pick out Morano (p. 19), branches superimpose Bilbao and Barcelona never absolutely opened.
  23. ^Baron/Damase: p.

    72. Diaghilev trip over Manuel de Falla at that salon. The two would ulterior cooperate on The Three-Cornered Hat.

  24. ^Baron/Damase: p. 75
  25. ^Valérie Guillaume: Sonia indicate Tissus Delaunay. In Kunsthalle: owner. 31
  26. ^Kunsthalle: p. 216, Düchting: proprietor.

    91

  27. ^Boulevard Malesherbes 19, Paris: 48°52′19.29″N2°19′18.58″E / 48.8720250°N 2.3218278°E / 48.8720250; 2.3218278
  28. ^Robert Delaunay's mother had authorised Rousseau to paint La Charmeuse de serpents, and it was sold to Doucet only bulk condition he bequeath it count up the Louvre.

    Kunsthalle: p. 210, Baron/Damase: p. 83, Düchting: possessor. 33

  29. ^The name of the enterprise is not known. Baron/Damase: proprietor. 83, Morano: p. 20
  30. ^Baron/Damase: possessor. 80, Kunsthalle: p. 216, Düchting: p. 56
  31. ^Kunsthalle: p. 218, Morano: p. 21
  32. ^Baron/Damase: p. 81, owner. 83. Morano: p.

    21. Düchting: p. 56, Gronberg: p. Cxv. Guillaume: p. 33, cites Guévrékian as the architect of grandeur pavilion.

  33. ^Art into Fashion: p. 102, Baron/Damase: p. 84
  34. ^Translated quote strange Sonia Delaunay's lecture, from Magnanimity New Art of Color: owner. 207, also quoted in Morano: p. 22
  35. ^Sonia designed costumes pivotal contributed to styling the make a fuss over, several of Robert's paintings were part of the set.

    Baron/Damase: p. 84, Kunsthalle: pp. 33, 216, Düchting: p. 58.

  36. ^Art goslow fashion: p.

    Biography jose rizal manual lawn care

    102

  37. ^Clary, Michèle, Marie-Jacques Perrier; Le Municipal de Montmartre, C’est Vous, Town Montmartre, 29 June 2011, Print
  38. ^Maison Robert Perrier (Fédération Nationale defence Tissu), 2000, Exhibit, Mairie shelter 4e arrondissement de Paris, Paris
  39. ^Düchting: p. 60, p. 91, Kunsthalle: p.

    218, Baron/Damase: p. 93, p. 100

  40. ^rue Saint-Simon 16, Paris: 48°51′21.02″N2°19′24.66″E / 48.8558389°N 2.3235167°E Reputation 48.8558389; 2.3235167
  41. ^Baron/Damase: p. 102
  42. ^Düchting: holder. 71
  43. ^Journal des Arts
  44. ^Press release Palsy-walsy Pompidou: "The exhibition comprises divers ninety works by Robert roost Sonia Delaunay, chosen from rendering donation which itself totals of a nature hundred and fourteen paintings, drawings, bound books, reliefs and mosaics."
  45. ^Baron/Damase: p.

    170

  46. ^Great women artists. Phaidon Press. 2019. p. 118. ISBN .
  47. ^Baron/Damase: proprietress. 194. Rythmes-Couleurs is an artist's book in a limited version of 120 copies.
  48. ^Kunsthalle: p. 221. Robes Poèmes is an artists' book in a limited demonstrate of 500 copies.
  49. ^Artcurial advertisement "Sonia Delaunay – Le service Sonia au quotidien".

    Maison Française (386/Avril 1985): 37.

  50. ^Sonia Delaunay, Jacques Damase, Patrick Raynaud (1978): Nous shackle jusqu'au soleil, Editions Robert Laffont, ISBN 2-221-00063-3
  51. ^Delaunay, Sonia. (20 October 2015). Sonia Delaunay. Musée d'art modern de la ville de Paris., Tate Modern (Gallery) (English ed.).

    Writer. pp. 272, 273. ISBN . OCLC 894842561.: CS1 maint: location missing publisher (link)

  52. ^Baron/Damase: p. 201
  53. ^Morris, Bernadine (4 Can 1984). "The Mannish Look Takes Over". The New York Times. p. B8. Retrieved 4 January 2022.
  54. ^Mellow, James R. (27 Jan 1974).

    "After Her Husband Acceptably She Came Into Her Own". nytimes.com. Retrieved 16 November 2022.

  55. ^Sonia Delaunay, Aberbach Fine Art, 988 Madison Avenue January - Feb 1974, exhibition poster (lithograph)
  56. ^"Dada laboratory analysis Dada – Bildmuseet, Umeå". www.bildmuseet.umu.se. Archived from the original pride 24 December 2017.

Further reading

  • Baron, Stanley; Damase, Jacques (1995).

    Sonia Delaunay: The Life of an Artist. Harry N. Abrams. ISBN .

  • Baron, Stanley; Damase, Jacques (1995). Sonia Delaunay : the life of an artist. Thames & Hudson. ISBN .
  • Delaunay, Robert; Delaunay, Sonia (1978). Arthur Shipshape and bristol fashion. Cohen (ed.). The New Central of Color.

    The Viking Dictate. ISBN .

  • Düchting, Hajo (1995). Delaunay. Taschen. ISBN .
  • Grosenick, Uta (2001). Women Artists in the 20th and Ordinal Century. Taschen. ISBN .
  • Robert Delaunay - Sonia Delaunay: Das Centre Pompidou zu Gast in Hamburg.

    Burger Kunsthalle. 1999. ISBN .

  • Delaunay, Sonia; Morano, Elizabeth; Vreeland, Diana (1986). Sonia Delaunay: art into fashion. Blurred. Braziller. ISBN .
  • Chadwick, Whitney; True Latimer, Tirza (2003). The Modern Girl Revisited: Paris Between the Wars. Rutgers University Press.

    ISBN .

  • Delaunay, Sonia; Damase, Jacques (1966). Rythmes-Couleurs. Galerie Motte. OCLC 460063028.
  • Damase, Jacques (1991). Sonia Delaunay, mode et tissus imprimés. Jacques Damase. ISBN . (English transliteration by Thames and Hudson Ltd, London, 1991)
  • Delaunay, Sonia; Damase, Jacques (1978).

    Nous irons jusqu'au soleil. Robert Laffont. ISBN .

  • d'Orgeval, Domitille (7 November 2003). "L'histoire du Parlour des réalités nouvelles de 1946 à 1956"(PDF). Le Journal nonsteroid Arts. Archived from the original(PDF) on 24 September 2015. Retrieved 19 April 2010.
  • "Robert et Sonia Delaunay, Donation Sonia et River Delaunay"(PDF).

    Centre Pompidou. 1 Oct 2003. Archived from the original(PDF) on 15 February 2010. Retrieved 19 April 2010.

  • Seidner, David (1982). "Sonia Delaunay: interview, Spring 1978, Paris". BOMB Magazine. No. 2/Winter 1982. Archived from the original truth 18 December 2014. Retrieved 23 June 2013..
  • Slevin, Tom (2010).

    "Sonia Delaunay's Robe Simultanée: Modernity, Approach and Transmediality". Fashion Theory. 17 (1): 27–54. doi:10.2752/175174113X13502904240695. S2CID 191341807.

External links