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VISIONS OF PARIS. ROBERT DELAUNAY`S SERIES

ROBERT DELAUNAY (1885-1941)

Published to accompany an exhibition which moved from the Deutsche Guggenheim Berlin to the Guggenheim Museum, New York, in February 1998, this is a study of a series of paintings and drawings of Paris between 1909 and 1914 which established Robert Delaunay as a major artist. Delaunay developed a new aesthetic of abstraction in his pursuit of "pure painting" by synthesizing the Impressionist tradition of series painting and the contemporary language of Cubism. His paintings of the church of Saint-Severin, the Eiffel Tower, and window views of Paris, celebrate the rhythms and locales of an urban milieu. The book includes a selection of writings by the artist as well as poems (by Guillaume Apollinaire, Blaise Cendrars, Louis Aragon and Vincente Huidobro) that were inspired by Delaunay's art.

GUGGENHEIM:  A view on Delaunay's further artistic career reveals his continuing interest in the principle of the series, the phenomenon of abstraction in painting and certain subject that he would repeat throughout his whole career. When Delaunay returned to Paris after the First World War - he and Sonia lived during the wartime in Portugal - he picked up themes and motives that he had painted nearly obsessively during his most intensive and successful period. The most important is certainly the Eiffel Tower; in the twenties it became once more a dominant subject in Delaunay's art.

Delaunay's singular renderings of the Tower, approach it from new vantage points, either from above like in an aerial shot or from below underlining its vitality through radical foreshortening and bold colors. The explosive dynamics, with which the artist depicted the Tower earlier on, however, give way to a more serene and classical view. Delaunay also combined the Tower with other motives like the ferris wheel or the traditional female figure of the Three Graces and merged his favorite themes into one single painting.

Delaunay's advances into the realm of pure abstraction found their apogee in the creation of his Disk-paintings. With his First Disk Delaunay realized in 1912-13 his first truly abstract painting, with no objective reference, consisting only of layers and successions of color within the form of a circle. It was only in the thirties that Delaunay returned to the theme of the Disk in form of the series, confirming his interest in abstract painting while constantly putting it to the test.

Pris ved 1 298,00 DKK

Emne Kubisme/Orfisme
Kunstner DELAUNAY, Robertg
Forfatter
Sprog Engelsk tekst
Illustrationer 105 ill, heaf 80 i farver
Format / Sideantal 33 x 26 cm / 148 sider
Udgivelsesår 1997
Indbinding Indbundet
Forlag Guggenheim Museum
Antikvarisk
Antal
Køb
ISBN 0810969068
Lev. 3 dage

ROBERT DELAUNAY (1885-1941)

Published to accompany an exhibition which moved from the Deutsche Guggenheim Berlin to the Guggenheim Museum, New York, in February 1998, this is a study of a series of paintings and drawings of Paris between 1909 and 1914 which established Robert Delaunay as a major artist. Delaunay developed a new aesthetic of abstraction in his pursuit of "pure painting" by synthesizing the Impressionist tradition of series painting and the contemporary language of Cubism. His paintings of the church of Saint-Severin, the Eiffel Tower, and window views of Paris, celebrate the rhythms and locales of an urban milieu. The book includes a selection of writings by the artist as well as poems (by Guillaume Apollinaire, Blaise Cendrars, Louis Aragon and Vincente Huidobro) that were inspired by Delaunay's art.

GUGGENHEIM:  A view on Delaunay's further artistic career reveals his continuing interest in the principle of the series, the phenomenon of abstraction in painting and certain subject that he would repeat throughout his whole career. When Delaunay returned to Paris after the First World War - he and Sonia lived during the wartime in Portugal - he picked up themes and motives that he had painted nearly obsessively during his most intensive and successful period. The most important is certainly the Eiffel Tower; in the twenties it became once more a dominant subject in Delaunay's art.

Delaunay's singular renderings of the Tower, approach it from new vantage points, either from above like in an aerial shot or from below underlining its vitality through radical foreshortening and bold colors. The explosive dynamics, with which the artist depicted the Tower earlier on, however, give way to a more serene and classical view. Delaunay also combined the Tower with other motives like the ferris wheel or the traditional female figure of the Three Graces and merged his favorite themes into one single painting.

Delaunay's advances into the realm of pure abstraction found their apogee in the creation of his Disk-paintings. With his First Disk Delaunay realized in 1912-13 his first truly abstract painting, with no objective reference, consisting only of layers and successions of color within the form of a circle. It was only in the thirties that Delaunay returned to the theme of the Disk in form of the series, confirming his interest in abstract painting while constantly putting it to the test.