Robert Delaunay (1885-1953)

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continue, with your permission, subject petrels abstract painting. I must say, a priori any such strongly expressed sympathy to the members of this group of pioneers I was not. But when you begin to consider, and you find things that are like. That is, the better you know, the more you love, or in another way - the scientists of the light, and ignorance is darkness

At this his discourse in favor of education finish and leave you to get acquainted with Robert Delaunay.

In 1905, Delaunay began to paint independently, in his works of this period was influenced by Gauguin, Cezanne and Seurat. Introduction to Seurat painting led him to read the works of scientist Eugene Chevrel, in which he wrote of "simultaneous contrast of colors.
In 1909 he began a series of "Church of St. Severin. It tangibly influence of cubism and expressionism. He later said about this series: "Here is felt the desire of the new expressive forms, but find it then proved impossible.

That same year, Delaunay began work on a cycle of the Eiffel Tower, the first with a postcard, and then - from nature, as it was visible from the windows of the shop, which he withdrew after his marriage to Sonia Terk. In 1911 he broke with the Cubists and the invitation of Kandinsky exhibited with the "Blue rider". This year marks the beginning of his friendship with Mac, Tarko and Klee, who came to him in Paris for a visit a year later, and in general with the German expressionist painters.

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In 1912, a period which he called "constructivism" - this is the work of a series of "Windows", "Wheels", "Round shape": "I designed the painting, which looked like a prism. I was a heretic Cubism ... I think that a series of "Windows" marked the beginning of what Apollinaire called pure painting, as he was looking for pure poetry. "

In 1913, Robert and Sonia Delaunay with Apollinaire and Cendrars went at the invitation of Walden for a big exhibition in Berlin. In the same year he participated in the Berlin Salon, where they were exhibited 23 of his simultaneous work - 20 paintings and 3 sculptures. His work, he signed: Delaunay Simultaneous. This celebration orphism (so-called chromatic Apollinaire Cubism Delaunay). His work this time again stanovyatsyaya focused and their stories - the events of the political and sporting life, but these stories fade into the background - these works are characterized by particularly dynamic and color solution.

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During the war, Robert and Sonia Delaunay lived in Spain and Portugal. Upon his return to Paris in 1921, Robert Delaunay cooperates with Tristan Tzara - dadaihm was then in apogee. In 1920-ies. can observe a kind of "return to normality" - he wrote a completely traditional portraits of his friends and wealthy clients.

But in 1930-ies. He returns to the theme titles and creates a series of "colored rhythms" and "infinite rhythms.

At the beginning of World War II, Delaunay had gone to the south-west France, in Montpellier, where Robert Delaunay died in 1941 from cancer.

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Letters of Robert Delaunay (do not know in French they are written, or German, but I am translating from English; neisklyucheno that because of this "multi-stage" transfer departed from the original, but what to do? Original letters, I could not find on NETE ):

August Macke, 1912

I need to watch a light essence of nature. I'm not necessarily talking about the observation with a palette in his hands, although I would gladly do sketches and sketches of nature. Actually, I often work with nature. But the most important thing for me - monitoring the movement of colors.

Just so I can find the laws of complementarity and simultaneous contrasts of colors, which organize my vision for my rhythm. It is in this observation, I find the essence of nature, independent of any systems or theories were.

I think that they are in the present, it is necessary to look to the past. If there is a tradition - and I am convinced that this is so - it can exist only in the sense of the deepest movements of culture /... /

The first thing I always look at the sun! I want to characterize and himself, and others, in the sunlight, the movement of colors. And I think, so I find the rhythm. The mere sight - this movement. Vision - a true creative rhythm. Recognize quality rhythms - is also a movement, but the only money that may be in the painting - a motion picture look. This is the most important thing in art, the most profound.

I hate definitions, manifestos, which are written before the creation of work, I was horrified ....

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Wassily Kandinsky, 1912

/... /Artist must work tirelessly to create a color design, which at this day hardly developed and remains unclear - in fact it began to be interested only since Impressionism.

Currently, the most important question - the search for pure painting. I do not know a single artist in Paris who would commit themselves to this ideal world. Experiment Cubists, which you told me, applies only to line, color, they cast aside, as a minor, non-constructive element.
I have not tried to express words of the results of my research in this area, but I dedicate it to all their strength. Perhaps I'll find the answer is not soon.
I still hope to find greater flexibility in the laws, which I opened. These laws are based on the study of color transparency, whose resemblance to the music helped me to open the "motion of color." I think that all this is nobody knows, I opened "the eyes of reason."

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