Color Rhythm - Sonia Delaunay
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Description
A geometric abstract composition by Sonia Delaunay, exploring the rhythmic interaction of colour and form through a series of balanced rectangular blocks.
Sonia Delaunay, a central figure in the development of Orphism, produced this work in 1967. The composition consists of a series of rectangular blocks arranged in a grid-like structure. Delaunay focuses on the interaction of colour and form, a pursuit that defined her career from her early experiments in Paris to her later works. The painting avoids representational imagery, instead prioritising the optical effects created by the juxtaposition of primary and secondary hues.
The application of paint is deliberate, with each block of colour maintaining a distinct boundary. The palette includes saturated blues, reds, and greens, balanced by neutral greys and blacks. This arrangement creates a sense of movement across the canvas, as the eye travels between the contrasting blocks. Delaunay’s interest in the relationship between light and colour is evident here, as the varying sizes and placements of the rectangles suggest a rhythmic progression.
Throughout her career, Delaunay worked across multiple disciplines, including textile design, fashion, and painting. Her approach to abstraction was informed by her study of colour theory and the works of the Neo-Impressionists. By the time she created this piece, her style had matured into a refined exploration of geometric balance. The work demonstrates her ability to create a sense of harmony through the careful calibration of colour relationships. It is a clear example of her late-period aesthetic, where the focus remains on the purity of the visual experience. The signature and date in the lower corner confirm its place within her extensive body of work from the 1960s.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Color Rhythm - Sonia Delaunay
Artist Biography
Sonia Delaunay
She was born Sara Stern in 1885 in Hradyzk, Ukraine. At five, her wealthy uncle Henri Terk adopted her and took her to St Petersburg. She grew up with access to art collections, European travel, and a good education. She studied in Karlsruhe, moved to Paris in 1905, and absorbed the Fauvists and Post-Impressionists. After meeting Robert, they developed what Guillaume Apollinaire named Orphism: a variant of Cubism built on pure colour, geometric abstraction, and dynamic movement. Their shared foundation was Chevreul's colour theory of simultaneous contrast, where adjacent colours alter each other's appearance.
In 1913, she sewed the simultaneous dress by hand from scraps of men's tailoring cloth, velvet, silk, and fur. It was designed to match the energy of the foxtrot and tango at Le Bal Bullier, a popular Parisian dance hall. Apollinaire urged readers to visit the Bal Bullier on Thursdays when the Delaunays arrived wearing her creations. The same year, she collaborated with Blaise Cendrars on La Prose du Transsiberien, a two-metre vertical fold-out combining his poem with her abstract colour panels. It is described as the first complete fusion of poetry and painting.
She treated painting, textiles, and fashion as a single practice. She set up a studio in their apartment, opened a fashion house called Sonia, and had her textile line picked up by one of Europe's biggest fabric manufacturers. In 1964, she became the first living woman to have a retrospective at the Louvre. She was seventy-nine. She died in 1979, aged ninety-four.
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