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Sonia Delaunay (French pronunciation: [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.
Sonia Delaunay was one of the primary propagators of Orphism and early abstraction, later developing an entire career in textile design. The Art Story Movements
Almost eleven feet wide, Sonia Delaunay’s Bal Bullier creates an overwhelming impression of brilliant color and movement. The composition juxtaposes rectangular geometric forms and circles with more fluid curved shapes, loosely structured across the canvas in a rhythmic pattern of dark and light verticals.
Sonia Delaunay was a Russian painter, illustrator, and textile designer who was a pioneer of abstract art in the years before World War I. Delaunay grew up in St. Petersburg. She studied drawing in Karlsruhe, Germany, and in 1905 moved to Paris, where she was influenced by the Post-Impressionists
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. Her work in modern design included the concepts of geometric abstraction, and the integration of furniture, fabrics, wall coverings, and clothing into her art practice.
Sarah Eliivna Stern (Hradyzk, 1885-París, 1979), [1] [2] más conocida como Sonia Delaunay, fue una pintora y diseñadora ucraniana nacionalizada francesa. Junto con su marido Robert Delaunay fueron grandes representantes del arte abstracto y creadores del simultaneísmo .
Sonia Delaunay quoted in Sherry A. Buckberrough, “An Art of Unexpected Contrasts,” in Sonia Delaunay: A Retrospective (Buffalo, NY: Albright-Knox Gallery, 1980), 102-103.. Delaunay quoted in Gail Levin, “Threading Jewish Identity: The Sara Stern in Sonia Delaunay,” Journal of Modern Jewish Studies vol. 15, no. 1 (January 2016), 93-94. Delaunay quoted in Jean-Claude Marcadé, “1885 ...
