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Pioneering artist Sonia Delaunay (1885–1979) straddled the lines between fine art and decorative art as well as geographical boundaries. “Although it is fascinating to read [her] A work rich with the prism of its origins, the artist herself, born in Odessa and raised in St. Petersburg, clearly expressed during her lifetime that art transcends borders and nations,” Valeria Dorogova, co-curator. She says. Sonia Delaunay: Living Art At the Bard Graduate Center in New York.
Russia’s 2022 full-scale invasion of Ukraine has highlighted Delaunay’s place in the historical context of both countries, but a significant part of his development as an artist took place in Paris and elsewhere in Western Europe.
Delaunay’s wealthy relatives supported his art education in Karlsruhe, Germany, and then in Paris. She was associated with the School of Paris Artists and her second marriage was to the French painter Robert Delaunay, with whom she developed the Orphism movement. Robert Delaunay, who died in 1941, wrote of his wife’s art that it “borrows nothing from the past and captures perfectly the spirit of our times”. Dorogova described Delaunay’s 1968 recreation for the House of Dior of a dress designed in the 1920s as “completely ephemeral” and her printed clothes as suitable for “tomorrow’s runways”.
Sonia Delaunay’s Broderie des Feuilleges (1909) Center Pompidou; Musée National Dart issue; Paris; Gift of Sonia and Charles Delaunay; 1964; AM 1142 OA. digital image; © CNAC/MNAM; District. RMN-Grand Palace/Art Resources; NY. © Prakusa
The show will portray Delaunay as an innovator and entrepreneur and demonstrate how his striking avant-garde shapes and bold colors are an important part of the modern canon. It will include approximately 200 objects Delaunay created during his career from 1910 to the 1970s, ranging from paintings to fashion, furniture and even playing cards. Major loans would come from institutions such as the Center Pompidou and the Musée de la Mode de la Ville de Paris.
Many of the objects have not been displayed in the US before, and others, such as his 1967 private journal with gouache compositions, have never been seen in public before. This journal is borrowed from an artist named Patrick Renaud, the last surviving assistant of his atelier. Renaud has also contributed an essay that serves as an epilogue to the 540-page catalog to be released next month.
• Delaunay: Living ArtBard Graduate Center, New York, February 23-July 7
Source: www.theartnewspaper.com
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