Rhythm. The Joy of Living by Robert Delaunay

Rhythm. The Joy of Living by Robert Delaunay
Rhythm. The Joy of Living by Robert Delaunay

Robert Delaunay is the leading representative of a new artistic style, Orphism, which emerged among the multiple avant-gardes at the beginning of the century XX.

This French painter born in 1885 and died in 1941 even invented Orphism by combining elements from the current Cubist style, the most modern in those years, with other elements learned from the futurist painters . And in fact, although he was opposed to cubist painting represented by great artists of the stature of Pablo Picasso and Georges Braque, the truth is that Orphism is a derivation and a modification of that style. So much so that it was the poetApollinairewho gave his artistic style the pompous name ofOrphic Cubism.


Rhythm. The joy of living

Furthermore, Delaunay to create that style starts as the Cubist artists had done from the study of Cezanne's works, and after that study and analysis of the production ofCezanne wants to modify the forms based on the color and the rhythmic articulation of the image.

But it will be in 1912, the date on which this painting was made, when it includes for the first time the most characteristic element of his painting: the disc. It is a curved shape, which already differentiated it a lot from the cubist tendencies where straight lines andangles. And on the other hand, his color tones also move away from Cubism and bring him closer to the colors used by the artists representing the Futurist movement, although without a doubt Delaunay's painting and, in general, Orphism, is a much more abstract style. than Futurism.

It was between 1912 and 1914 when he made his most famous works, since in that last year he entered a period of profound crisis, and the truth is that his paintings did not return to the same quality until the decade of the thirties.

One of the defining features of Delaunay's painting is that he used to improvise directly on the canvas, since he believed that the structure of the painting generated itself. He believed that the circular generation of light from his classic records was the fundamental principle of everything that exists. And from it he created and painted densely intertwined color structures, and sometimes modulated in a very complex way.

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