STAGING COLOR, WORD, AND MOVEMENT
Having relocated to the Iberian Peninsula at the start of World War I, Sonia Delaunay received her first large commissions for stage costumes and decor in Madrid. In 1918 she transformed the Petit Casino theater into a total work of art by redecorating its interiors and designing dresses for the star of its renowned revue. At about the same time, Ballets Russes impresario Serge Diaghilev (1872–1929) chose Sonia and Robert Delaunay to reimagine the costumes and set for a new iteration of his production of Cléopâtre at the London Coliseum. These opportunities enabled Sonia to expand her vision of dynamic color by integrating performers and choreography with her artful costumes. Upon her return to Paris in 1921, Delaunay continued to focus on the performative potential of her designs. Within a circle of avant-garde artists, poets, and writers, she sought innovative ways to incorporate the written word in her creations, producing so-called robes-poèmes (dress-poems) and other striking avant-garde costumes for art soirées. Her interest in a synthesis of visual and performing arts culminated in 1926, when she was commissioned to provide garments and textiles for the films Le P’tit Parigot and Le Vertige. Among interiors conceived by Robert Mallet-Stevens (1886–1945) and Robert Delaunay, her black-and-white patterns achieved remarkable optical effects, proving that her ingenuity in color extended to monochrome.
STAGING COLOR, WORD, AND MOVEMENT
Having relocated to the Iberian Peninsula at the start of World War I, Sonia Delaunay received her first large commissions for stage costumes and decor in Madrid. In 1918 she transformed the Petit Casino theater into a total work of art by redecorating its interiors and designing dresses for the star of its renowned revue. At about the same time, Ballets Russes impresario Serge Diaghilev (1872–1929) chose Sonia and Robert Delaunay to reimagine the costumes and set for a new iteration of his production of Cléopâtre at the London Coliseum. These opportunities enabled Sonia to expand her vision of dynamic color by integrating performers and choreography with her artful costumes. Upon her return to Paris in 1921, Delaunay continued to focus on the performative potential of her designs. Within a circle of avant-garde artists, poets, and writers, she sought innovative ways to incorporate the written word in her creations, producing so-called robes-poèmes (dress-poems) and other striking avant-garde costumes for art soirées. Her interest in a synthesis of visual and performing arts culminated in 1926, when she was commissioned to provide garments and textiles for the films Le P’tit Parigot and Le Vertige. Among interiors conceived by Robert Mallet-Stevens (1886–1945) and Robert Delaunay, her black-and-white patterns achieved remarkable optical effects, proving that her ingenuity in color extended to monochrome.
Having relocated to the Iberian Peninsula at the start of World War I, Sonia Delaunay received her first large commissions for stage costumes and decor in Madrid. In 1918 she transformed the Petit Casino theater into a total work of art by redecorating its interiors and designing dresses for the star of its renowned revue. At about the same time, Ballets Russes impresario Serge Diaghilev (1872–1929) chose Sonia and Robert Delaunay to reimagine the costumes and set for a new iteration of his production of Cléopâtre at the London Coliseum. These opportunities enabled Sonia to expand her vision of dynamic color by integrating performers and choreography with her artful costumes. Upon her return to Paris in 1921, Delaunay continued to focus on the performative potential of her designs. Within a circle of avant-garde artists, poets, and writers, she sought innovative ways to incorporate the written word in her creations, producing so-called robes-poèmes (dress-poems) and other striking avant-garde costumes for art soirées. Her interest in a synthesis of visual and performing arts culminated in 1926, when she was commissioned to provide garments and textiles for the films Le P’tit Parigot and Le Vertige. Among interiors conceived by Robert Mallet-Stevens (1886–1945) and Robert Delaunay, her black-and-white patterns achieved remarkable optical effects, proving that her ingenuity in color extended to monochrome.
In September 1918, Sergei Diaghilev (1872–1929), impresario of the Ballets Russes, celebrated the premiere of Cléopâtre at the London Coliseum. Sonia and Robert Delaunay were commissioned by Diaghilev to design a new set and costumes for the production while living in Madrid. The photographer Emil Otto Hoppé alluringly captured the principal dancer, Lubov Tchernicheva (1890–1976), in her role as Cleopatra. She wears a gown designed by Sonia Delaunay, who was known for her use of bright colors and abstract shapes. The light-reflecting materials of this “solar dress,” as she called it, reflected the stage lights.
In September 1918, Sergei Diaghilev (1872–1929), impresario of the Ballets Russes, celebrated the premiere of Cléopâtre at the London Coliseum. Sonia and Robert Delaunay were commissioned by Diaghilev to design a new set and costumes for the production while living in Madrid. The photographer Emil Otto Hoppé alluringly captured the principal dancer, Lubov Tchernicheva (1890–1976), in her role as Cleopatra. She wears a gown designed by Sonia Delaunay, who was known for her use of bright colors and abstract shapes. The light-reflecting materials of this “solar dress,” as she called it, reflected the stage lights.
Emil Otto Hoppé (1878–1972), Lubov Tchernicheva as Cleopatra in Cléopâtre, London. 1918. E. O. Hoppé Estate Collection, Pasadena, California, 14622-A. © E. O. Hoppé Estate Collection / Curatorial, Inc.
Emil Otto Hoppé (1878–1972), Lubov Tchernicheva as Cleopatra in Cléopâtre, London. 1918. E. O. Hoppé Estate Collection, Pasadena, California, 14622-A. © E. O. Hoppé Estate Collection / Curatorial, Inc.
After the success of Cléopâtre, Sonia Delaunay was commissioned by the owner of a theater in Madrid to remodel the space, which was then renamed Le Petit Casino. Delaunay treated the venue as a blank canvas, covering it with disks, stars, and floral forms rendered in red, blue, yellow, and black. The decorative scheme culminated in an elaborate stage curtain: an explosive configuration of shapes and colors extending onto the proscenium and illuminated by enormous overhead lights.
After the success of Cléopâtre, Sonia Delaunay was commissioned by the owner of a theater in Madrid to remodel the space, which was then renamed Le Petit Casino. Delaunay treated the venue as a blank canvas, covering it with disks, stars, and floral forms rendered in red, blue, yellow, and black. The decorative scheme culminated in an elaborate stage curtain: an explosive configuration of shapes and colors extending onto the proscenium and illuminated by enormous overhead lights.
Photographic print
Bibliothèque nationale de France, Paris, gift of Sonia Delaunay, 1977
In 1928 Léonide Massine (1896–1979), former choreographer for the Ballets Russes, asked Sonia Delaunay to design sets and costumes for a ballet he planned to stage at the Roxy Theatre in New York City. Delaunay took inspiration from her own fashion and textile designs, using her Simultaneous patterns to embellish the sets and several costume ensembles. She planned for the backcloth to turn on rollers, revealing each of its designs in succession, but unfortunately the ballet was never staged.
In 1928 Léonide Massine (1896–1979), former choreographer for the Ballets Russes, asked Sonia Delaunay to design sets and costumes for a ballet he planned to stage at the Roxy Theatre in New York City. Delaunay took inspiration from her own fashion and textile designs, using her Simultaneous patterns to embellish the sets and several costume ensembles. She planned for the backcloth to turn on rollers, revealing each of its designs in succession, but unfortunately the ballet was never staged.
1928–29
Graphite and gouache on paper
Bibliothèque nationale de France, Paris, gift of Sonia Delaunay, 1977
1928–29
Graphite and gouache on paper
Bibliothèque nationale de France, Paris, gift of Sonia Delaunay, 1977
Sonia Delaunay designed these pajamas for the Dadaist poet Tristan Tzara (1896–1963), as part of a series of garments featuring embroidered verse. The poem would be set into motion when the ensemble was worn by Tzara, combining performance and the written word. Delaunay greatly admired Tzara’s work and designed costumes for one of his plays, Le Cœur à gaz, also in 1923.
Sonia Delaunay designed these pajamas for the Dadaist poet Tristan Tzara (1896–1963), as part of a series of garments featuring embroidered verse. The poem would be set into motion when the ensemble was worn by Tzara, combining performance and the written word. Delaunay greatly admired Tzara’s work and designed costumes for one of his plays, Le Cœur à gaz, also in 1923.
1923
Watercolor on paper
Collection of Tamar Cohen
Similar to the costumes Sonia Delaunay designed for Le Cœur à gaz, those she made for the Bal des pages, a charity soirée organized by the Union of Russian Artists at the Hôtel Claridge, radically reimagined the shape of the human body. Delaunay used stiff, cardboard-like materials for these costumes, which she then painted or covered with paper and textiles that emphasized the geometry and abstract qualities of the designs. This fashion show was accompanied by a reading of “La mode qui vient” (“Fashions of the Future”), a poem by Joseph Delteil (1894–1978).
Similar to the costumes Sonia Delaunay designed for Le Cœur à gaz, those she made for the Bal des pages, a charity soirée organized by the Union of Russian Artists at the Hôtel Claridge, radically reimagined the shape of the human body. Delaunay used stiff, cardboard-like materials for these costumes, which she then painted or covered with paper and textiles that emphasized the geometry and abstract qualities of the designs. This fashion show was accompanied by a reading of “La mode qui vient” (“Fashions of the Future”), a poem by Joseph Delteil (1894–1978).
1924
Silver gelatin print
Diktats bookstore
1924
Silver gelatin print
Diktats bookstore
