SIMULTANISM AND EARLY WORKS
The term “Simultanism” emerged from Sonia and Robert Delaunay’s study of On the Law of the Simultaneous Contrast of Colors (1839). Written by Michel-Eugène Chevreul (1786–1889), the treatise demonstrates the sensational optical effects achieved by placing complementary colors next to each other. To the Delaunays, these simultaneous contrasts were more than just compelling visual phenomena; indeed, for them, the way certain color pairings seem to move and vibrate conjured the dynamism of modern life itself. Sonia Delaunay began exploring Simultanism in a range of artistic applications in 1913. That year, she not only painted several of her chief works on canvas and produced her first Simultaneous fashions, but she also made the first Simultaneous book—La Prose du Transsibérien et de la Petite Jehanne de France—which she created in collaboration with poet Blaise Cendrars (1887–1961). Across all of these works, prismatic forms and pure colors are leading compositional elements. Amid Delaunay’s seemingly infinite exploration of materials and techniques, Simultanism stands as a constant in her creative output.
SIMULTANISM AND EARLY WORKS
The term “Simultanism” emerged from Sonia and Robert Delaunay’s study of On the Law of the Simultaneous Contrast of Colors (1839). Written by Michel-Eugène Chevreul (1786–1889), the treatise demonstrates the sensational optical effects achieved by placing complementary colors next to each other. To the Delaunays, these simultaneous contrasts were more than just compelling visual phenomena; indeed, for them, the way certain color pairings seem to move and vibrate conjured the dynamism of modern life itself. Sonia Delaunay began exploring Simultanism in a range of artistic applications in 1913. That year, she not only painted several of her chief works on canvas and produced her first Simultaneous fashions, but she also made the first Simultaneous book—La Prose du Transsibérien et de la Petite Jehanne de France—which she created in collaboration with poet Blaise Cendrars (1887–1961). Across all of these works, prismatic forms and pure colors are leading compositional elements. Amid Delaunay’s seemingly infinite exploration of materials and techniques, Simultanism stands as a constant in her creative output.
The term “Simultanism” emerged from Sonia and Robert Delaunay’s study of On the Law of the Simultaneous Contrast of Colors (1839). Written by Michel-Eugène Chevreul (1786–1889), the treatise demonstrates the sensational optical effects achieved by placing complementary colors next to each other. To the Delaunays, these simultaneous contrasts were more than just compelling visual phenomena; indeed, for them, the way certain color pairings seem to move and vibrate conjured the dynamism of modern life itself. Sonia Delaunay began exploring Simultanism in a range of artistic applications in 1913. That year, she not only painted several of her chief works on canvas and produced her first Simultaneous fashions, but she also made the first Simultaneous book—La Prose du Transsibérien et de la Petite Jehanne de France—which she created in collaboration with poet Blaise Cendrars (1887–1961). Across all of these works, prismatic forms and pure colors are leading compositional elements. Amid Delaunay’s seemingly infinite exploration of materials and techniques, Simultanism stands as a constant in her creative output.
By 1913, Sonia Delaunay had fully developed a painterly style of pure abstraction, dubbed “Orphism” by poet Guillaume Apollinaire (1880–1918). This toy box, which she originally created for her son, Charles, demonstrates the artist’s ability to apply her skill in painting to any surface. Delaunay held this and her other Simultaneous creations in equal regard to her paintings, exhibiting them together at the Erster Deutscher Herbstsalon (First German Autumn Salon) in Berlin in 1913.
By 1913, Sonia Delaunay had fully developed a painterly style of pure abstraction, dubbed “Orphism” by poet Guillaume Apollinaire (1880–1918). This toy box, which she originally created for her son, Charles, demonstrates the artist’s ability to apply her skill in painting to any surface. Delaunay held this and her other Simultaneous creations in equal regard to her paintings, exhibiting them together at the Erster Deutscher Herbstsalon (First German Autumn Salon) in Berlin in 1913.
1913
Oil paint on wood
Centre Pompidou, Musée national d’art moderne, Paris, gift of Sonia Delaunay, 1955, AM 1109 OA
1913
Oil paint on wood
Centre Pompidou, Musée national d’art moderne, Paris, gift of Sonia Delaunay, 1955, AM 1109 OA
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Hailed as the “first Simultaneous book,” La Prose features text by poet Blaise Cendrars and colorful stencil illustrations by Delaunay. The pages were printed on separate sheets of paper that were typically glued together and then folded like an accordion. Once assembled, the book was finished with a hand-painted parchment cover. The process of unfolding and reading the work mirrors the journey of the poem’s narrator on the Trans-Siberian Railway. One hundred fifty copies were intended to be sold—their total length when fully opened equaling the height of the Eiffel Tower—but, so far, only eighty-nine copies are documented to have been produced.
Hailed as the “first Simultaneous book,” La Prose features text by poet Blaise Cendrars and colorful stencil illustrations by Delaunay. The pages were printed on separate sheets of paper that were typically glued together and then folded like an accordion. Once assembled, the book was finished with a hand-painted parchment cover. The process of unfolding and reading the work mirrors the journey of the poem’s narrator on the Trans-Siberian Railway. One hundred fifty copies were intended to be sold—their total length when fully opened equaling the height of the Eiffel Tower—but, so far, only eighty-nine copies are documented to have been produced.
Paris: Éditions des Hommes nouveaux
1913
Gouache pochoir, type, and lithography on paper
Spencer Collection, The New York Public Library, 1913 03-320
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Paris: Éditions des Hommes nouveaux
1913
Gouache pochoir, type, and lithography on paper
Spencer Collection, The New York Public Library, 1913 03-320
Sonia Delaunay’s early Simultaneous projects include collaged posters and bookbindings made from paper, foil, fabric, and leather. These colorful objects were informed by her observations of light—in this case, sunlight. On top of what began as an advertisement design—a part of which is still visible—she created a new composition related to a series of paintings by Robert. In the center, an abstracted human figure stands in the vibrant sunlight, which is expressed as a series of arced shapes at the top right.
Sonia Delaunay’s early Simultaneous projects include collaged posters and bookbindings made from paper, foil, fabric, and leather. These colorful objects were informed by her observations of light—in this case, sunlight. On top of what began as an advertisement design—a part of which is still visible—she created a new composition related to a series of paintings by Robert. In the center, an abstracted human figure stands in the vibrant sunlight, which is expressed as a series of arced shapes at the top right.
1914
Collage on board with additions in brush and ink, watercolor, and crayon
National Gallery of Art, Washington, DC, gift of the Judith Rothschild Foundation, 2007.108.1
1914
Collage on board with additions in brush and ink, watercolor, and crayon
National Gallery of Art, Washington, DC, gift of the Judith Rothschild Foundation, 2007.108.1
