Orphism
Started: 1911
Ended: 1914
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THE ART STORY
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KEY ARTISTS
 | Robert Delaunay Quick View Artist Page |
| Robert Delaunay |  |
| Robert Delaunay was a French avant-garde painter. Early in his career he was associated with the Expressionist group The Blue Rider along with Kandinsky and Klee. Delaunay's singular style is referred to as Orphism; an approach that combines visual elements of Cubism, Expressionism and figurative abstraction. Art Story: Robert Delaunay Artist Page | ||
 | Sonia Delaunay Quick View Artist Page |
| Sonia Delaunay | |
| Sonia Delauney with her husband Robert Delauney, began the Orphism art movement during the pre-War period, characterized by its use of strong color palettes and geometric, abstract forms. Delaunay's work also popularly incorporated the use of fabric, furniture design and clothing. Art Story: Sonia Delaunay Artist Page | ||
 | Franz Marc Quick View Artist Page |
| Franz Marc | |
| Franz Marc was a German painter and printmaker, and one of the pioneers of German Expressionism. Along with August Macke and Kandinksy, Marc founded The Blue Rider artist group. A student of Futurism and Cubism, Marc was a master of color and depth, and a major influence on mid-twentieth-century abstractionists. Art Story: Franz Marc Artist Page | ||
 | Frantisek Kupka Quick View Artist Page |
| Frantisek Kupka | |
| A co-founder of the Orphism Movement, Frantisek Kupka's works are investigations into theories on motion, color, and the relationship between music and painting. He is regarded as one of the first developers of abstraction. Art Story: Frantisek Kupka Artist Page | ||
"Direct observation of the luminous essence of nature is for me indispensable."
Summary of Orphism
Breaking free from Cubism to embrace brilliant color and representations of time and experience, Orphism introduced non-objective painting to French audiences. As one of the earliest styles to approach complete abstraction, Orphism brought together contemporary theories of philosophy and color to create works that immersed the viewer in dynamic expanses of rhythmic form and chromatic scales. Less than a long-term, cohesive movement, however, Orphism was a loosely bound group of artists with the common goals of moving beyond concrete reality to present a flowing vision of simultaneity and flux. It flowered briefly in the years leading to World War I, before fading with the rise of the war in 1914.
Key Ideas
Beginnings:
Around 1911, the theory and practice of Robert and Sonia Delaunay began to converge with the experimental work of František Kupka, giving birth to Orphism. The notion of Orphism was popularized by Robert Delaunay's influential article of 1912, "La lumière" and Guillaume Apollinaire's description of "Orphic Cubism" in his 1913 writings on modern art. The collaborations between Robert and Sonia Delaunay broadened the range of Orphism beyond the art world. The Delaunays would become most closely associated with Orphism, even though Kupka received some of the earliest acclaim for his advocacy of pure painting, abstract and free from any need to be descriptive. This non-objective ideal broke with even the most radical painters of the time, who abstracted from nature, but still worked from identifiable sources.
Important Art and Artists of Orphism | |
  | The City of Paris (La Ville de Paris) (1910-12)Artist: Robert Delaunay Artwork description & Analysis: Delaunay considered this monumental painting (13 x 9') a turning point in his work, and suggested a larger, metaphysical continuum of time and experience. Intended to be a visual manifesto, he incorporated elements of modern fragmentation while juxtaposing them with classical allusion and historical scale. The work combines fragmentary views of Paris and elements of its history, beginning on the left with the Quai du Louvre, representing ancient Paris, and, ending on the right with the Eiffel Tower, symbolizing the city's modernity. Reflecting Orphism's emphasis on depicting modernity's simultaneous states of being, this work conveys the fleeting sensations of modern life in Paris. He had first explored imagery of the Eiffel Tower in 1909, and it was to become a central symbol in his work. Delaunay also added the symbolic layer of the three women; their fragmented figures represent Paris of the past, the present, and the future while alluding to the Greek myth of the Judgment of Paris. The women were partly inspired by a wall painting of the three graces from ancient Pompeii. Oil on canvas - Musée National d'Art Moderne, Centre Georges Pompidou, Paris |
 Artwork Images | Couverture de Berceau (1911)Artist: Sonia Delaunay Artwork description & Analysis: The patchwork blanket, made of 70 triangular and rectangular pieces of cloth, is arranged in contrasting patterns along a roughly designed grid, creating a softly harmonious but dynamic effect. The dominant horizontal and vertical lines are counteracted by triangular patches, which introduce subtle diagonals to provide a sense of vibrant movement. The arrangement of black rectangles, green triangles, and small vertical rectangles of yellow in the center of the work create a sense of depth, as if looking into deeper space, yet the textile remains an insistently flat surface, creating visual tension between illusion and reality. Cloth quilt - Musée d'Art Moderne |
 Artwork Images | The Rhythm (Adam and Eve) (1910-1913)Artist: Vladimir Baranoff-Rossiné Artwork description & Analysis: This work, depicting Adam and Eve in Paradise, marked the young Baranoff-Rossiné's debut as a modernist and demonstrates his early adoption of Orphist ideas. Like Delaunay, he intended the painting to make a grand demonstration of the meaningful potential of harnessing color and form to make meaning; he incorporated traditional symbolism, quoting Old Master works, to underscore its ancestry. Indeed, Adam's posture and profile alludes to Albrecht Dürer's 1504 Adam and Eve, but, unlike Dürer, the artist portrays Eve as a supine and seductive being, accompanied by a cat which symbolizes sexuality, drawing from more recent fin-de-siècle iconography of the femme fatale (Adam is attended by a faithful hound). A solar disk swirls at the center of the canvas, and six rings radiate around it, representing the Biblical six days of creation. The vegetation growing out of the third ring creates a sense of vibrant growth, in which can be seen fragmentary and amorphous animals. Oil, pencil and crayon on canvas - Private collection |
More Orphism Artwork and Analysis:
Content compiled and written by Rebecca Seiferle
Edited and revised, with Synopsis and Key Ideas added by Sarah Archino
" Movement Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Rebecca Seiferle
Edited and revised, with Synopsis and Key Ideas added by Sarah Archino
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First published on 11 Sep 2017. Updated and modified regularly. 
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