Sonia Delaunay Cloche + Scarf (w. cert of auth)
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Sonia Delaunay Cloche + Scarf (w. cert of auth)
About the Item
Dr Sherry Buckberrough is one of the world's authorities on Delaunay. In 1992, she hand carried the cloche/scarf to Paris to do research at Mme. Delaunay's estate for an upcoming book. It took about a year and a half for the final outcome, but Jean Louis Delaunay- the grandson of SD- authenticated the pieces and a copy of the certificates of authenticity are included in the images..
cloche
- Length around base of cloche - 22”
- Length from front to back – 16.5”
- Length of back wing across – 11”
- Length of front across – 9.5”
scarf
- Length of back of scarf – 49”
- Sides of scarf – 29.5”
- Back to peak – 24.5”
- Length of design – 17”
ABOUT THE DESIGNER (excerpts from Wikipedia.com)
Sonia Delaunay (November 14, 1885- December 5, 1979) was a Jewish-French artist who, with her husband Robert Delaunay and others, cofounded the Orphism art movement, noted for its use of strong colors and geometric shapes. Her work extends to painting, textile design and stage set design. She was the first living female artist to have a retrospective exhibition at the Louvre and in 1975 was named an officer of the French Legion of Honor.
Her work in modern design included the concepts of geometric abstraction, the integration of furniture, fabrics, wall coverings and clothing.
In 1911 Sonia made a patchwork quilt for Charles' crib, which is now in the collection of the Musée National d'Art Moderne in Paris. This quilt was created spontaneously and uses geometry and color.
"About 1911 I had the idea of making for my son, who had just been born, a blanket composed of bits of fabric like those I had seen in the houses of Russian peasants. When it was finished, the arrangement of the pieces of material seemed to me to evoke cubist conceptions and we then tried to apply the same process to other objects and paintings," Sonia Delaunay [2]
Contemporary art critics recognize this as the point where she moved away from perspective and naturalism in her art. Around the same time, cubist works were being shown in Paris and Robert had been studying the color theories of Michel Eugène Chevreul, they called their experiments with color in art and designsimultanéisme. Simultaneous design occurs when one design, when placed next to another, affects both; this is similar to the theory of colors (Pointillism, as used by e.g., Georges Seurat) in which primary color dots placed next to each other are "mixed" by the eye and affect each other. Sonia's first large scale painting in this style was Bal Bullier (1912-13), a painting known for both its use of color and movement.
The Delaunays' friend, poet and art critic, Guillaume Apollinaire coined the term Orphism to describe the Delaunays' version of cubism in 1913. It was through Apollinaire that Sonia met friend and collaborator, poet Blaise Cendrars in 1912. She illustrated his poem La prose du Transsibérien et de la Petite Jehanne de France (“The Prose of the Trans-Siberian and of Little Jehanne of France”) about a journey on the Trans-Siberian Railway, by creating a 2m long accordion type of book. Using simultaneous design principles the book merged text and design. The book, which was pretty much sold by subscription, created a stir amongst Paris critics. The simultaneous book was later shown at the Autumn Salon in Berlin in 1913 along with paintings and other applied artworks such as dresses, and it is said that Paul Klee was so impressed with her use of squares in her binding of Cendrars' poem that they became an enduring feature in his own work.
In 1914 they traveled to the Iberian Peninsula where they lived for roughly six years while the First World War raged in Europe. In Portugal Sonia and Robert met with several Portuguese artists, including Amadeo de Souza-Cardoso, with whom they had an intense friendship. Her most important work from that period is The Market at Minho. The Delaunays were in Barcelona when the Russian Revolution occurred. Realizing that they would no longer receive special support from her family, Sonia concluded that she would have to make a living from applied arts and her career in design and theatre began.
In 1920 Sonia returned to Paris and in 1924 she opened a fashion studio together with Jacques Heim. In 1925 she participated in Exposition Interationale des Arts Decoratifs et Industriels Modernes (Art Deco) in Paris together with Vadim Meller, Aleksandra Ekster, Nathan Altman and David Shterenberg. Her work extends to painting, textile design and stage set design. She was the first living female artist to have a retrospective exhibition at the Louvre in 1964 and in 1975 was named an officer of the French Legion of Honor. Sonia Delaunay-Terk died in 1979 in Paris. Her work in modern design included the use of geometric abstraction and the integration of furniture, fabrics, wall coverings and clothing.
Jazz expert Charles Delaunay is her son.
Delaunay's painting Coccinelle was featured on a stamp jointly released by the French Post Office, La Poste and the United Kingdom's Royal Mail in 2004 to commemorate the centenary of the Entente Cordiale
- Designer:Sonia Delaunay
- Brand:Sonia Delaunay
- Place of Origin:
- Period:
- Material Notes:wool felt hat and silk scarf with wool felt applique
- Condition:Excellent.
- Seller Location:Los Angeles, CA
- Reference Number:1stDibs: U0906234942
Sonia Delaunay
Pioneering 20th-century abstract artist Sonia Delaunay was known for ignoring the distinction between fine art and applied design. Her body of work encompassed not only paintings and prints but also book illustrations, women’s and men’s fashions, costumes for theater and dance, film sets, wallpaper, furniture and interior decor. More than an expression of her prolific talent, this varied output was her way of erasing the boundary between life and art.
Born Sara Elievna Stern in 1885 to a working-class Jewish family in Ukraine (then part of the Russian Empire), she was adopted as a child by a wealthy maternal uncle in St. Petersburg, who saw to her well-rounded education. There, she picked up the nickname Sonia.
At the age of 18, she left Russia for Germany to study painting, and in 1905, she landed in Paris, where she enrolled in art school. She soon dropped out but continued creating art, producing canvases strongly influenced by Fauvism. Following a brief marriage to gallery owner Wilhelm Uhde, she married fellow artist Robert Delaunay (1885–1941) in 1910. After the birth of her son, Charles, in 1911, she crafted a patchwork crib cover that she considered her first truly abstract piece.
No matter the medium, Delaunay’s passion was color. She and her husband were the main exponents of Orphism, a branch of Cubism defined by abstract compositions and bright shades. They saw their creations as experiments in Simultanéisme, or Simultanism, a color theory based on the work of scientist Michel Eugène Chevreul (1786–1889), who studied the ways in which a given hue can look different depending on the ones around it.
The Delaunays noted that certain pairings seemed to generate a vibration in the eye of the beholder. They felt that this movement captured the dynamism of modern urban life. The couple generally expressed the ideas underpinning Simultanism in their work with flat, overlapping panes of color. In fact, Sonia’s cradle cover melded their tenets with the traditions of Russian-peasant patchwork (also a big Constructivist inspiration).
Seeking to integrate Simultanism into all aspects of life, she designed other abstractly patterned furnishings for their home, which had become a gathering place for the avant-garde, and she worked the designs into their clothes, too, which she and Robert would wear throughout the city and to dance halls — behavior that today would likely be described as performance. In addition to performance, Sonia’s work presaged many other avant-garde movements, such as kinetic art and Op art.
After the upheavals of World War I and the 1917 Russian Revolution, Delaunay retooled herself and opened a business. Keeping her devotion to color juxtaposition front and center, she launched a fabric and fashion atelier where she created textiles, wearable pieces, interior decor and furniture, sometimes collaborating with cabinetmaker Adolphe Chanaux.
Clients who may have found an abstract painting intimidating or inaccessible could enjoy the bright pattern on a cloche-and-scarf set Delaunay created or the striped handbag she designed. In this way, she brought her art into their everyday lives. Her colorful abstract design on a textile or rug could very well have been applied to one of her canvases and hung on a wall or vice versa.
While many women artists of the period were herded away from the fine arts and toward crafts (think Anni Albers), Delaunay was able to do it all. And what’s also so appealing about her oeuvre, to contemporary eyes, is the sense that Delaunay pursued everything — be it painting or fashion or costuming or furniture or graphic design — with equal vigor, without making distinctions between mediums.
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