Simultaneous design occurs when one design, when placed next to another, affects both this is similar to the theory of colours ( Pointillism, as used by e.g. Around the same time, cubist works were being shown in Paris and Robert had been studying the colour theories of Michel Eugène Chevreul they called their experiments with colour in art and design simultanéisme. When it was finished, the arrangement of the pieces of material seemed to me to evoke cubist conceptions and we then tried to apply the same process to other objects and paintings." Sonia Delaunay Ĭontemporary art critics recognize this as the point where she moved away from perspective and naturalism in her art. "About 1911 I had the idea of making for my son, who had just been born, a blanket composed of bits of fabric like those I had seen in the houses of Ukrainian peasants. This quilt was created spontaneously and uses geometry and colour.
In 1911, Sonia Delaunay made a patchwork quilt for Charles's crib, which is now in the collection of the Musée National d'Art Moderne in Paris. The last section of La prose du Transsibérien et de la Petite Jehanne de France, 1913 A poet who wrote not with words but with colours". Sonia said about Robert: "In Robert Delaunay I found a poet. They were supported by an allowance sent from Sonia's aunt in St.
Their son Charles was born on 18 January 1911. Sonia was pregnant and she and Robert married on 15 November 1910. The divorce was finalised in August 1910. They became lovers in April of that year and it was decided that she and Uhde should divorce. Sonia Terk met Robert Delaunay in early 1909. Sonia Terk gained entrance into the art world via exhibitions at Uhde's gallery and benefited from his connections.Ĭomtesse de Rose, mother of Robert Delaunay, was a regular visitor to Uhde's gallery, sometimes accompanied by her son. In 1908 she entered into a "marriage of convenience" with German art dealer and gallery owner Wilhelm Uhde, allowing her access to her dowery and Uhde cover for his homosexuality. Her own work during this period was strongly influenced by the art she was viewing including the post-impressionist art of Van Gogh, Gauguin and Henri Rousseau and the Fauves including Matisse and Derain. Unhappy with the mode of teaching, which she thought was too critical, she spent less time at the Académie and more time in galleries around Paris. When she arrived in Paris she enrolled at the Académie de La Palette in Montparnasse. She studied in Germany until 1905 and then moved to Paris. When she was 18, at her teacher's suggestion, she was sent to art school in Germany where she attended the Academy of Fine Arts in Karlsruhe. Petersburg, where her skill at drawing was noted by her teacher. When she was 16, she attended a well-regarded secondary school in St. They spent their summers in Finland and travelled widely in Europe, introducing Sonia to art museums and galleries. She assumed the name Sonia Terk and received a privileged upbringing with the Terks. Finally in 1890 she was adopted by the Terks. Henri, a successful and affluent lawyer, and his wife Anna wanted to adopt her but her mother would not allow it. Petersburg, where she was cared for by her mother's brother, Henri Terk. Her father was foreman of a nail factory. Sarah Elievna Stern was born on 1 (13) November 1885 in Odessa, then part of the Russian Empire, to Jewish parents. Sonia Delaunay, Rythme, 1938, oil on canvas, 182 x 149 cm, Musée National d'Art Moderne, Paris