Composition Red, Blue, Black, White - Sonia Delaunay
Archival giclée
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Description
A striking abstract lithograph by Sonia Delaunay, featuring a balanced arrangement of geometric forms in red, blue, black, and white.
Sonia Delaunay was a central figure in the development of abstract art during the twentieth century. Her work often explored the interaction of colour and geometric form, a practice she termed simultaneity. This lithograph demonstrates her mastery of balance and spatial tension through the use of primary colours and stark monochrome elements. The composition is anchored by a central circular motif, divided vertically into two distinct halves. One side features a solid black semi-circle, while the other presents a red semi-circle. These shapes are framed by white arcs, which create a sense of movement against the deep blue background. The arrangement avoids traditional perspective, opting instead for a flat, graphic quality that emphasises the relationship between the shapes and the surrounding field of colour. Delaunay moved away from representational subjects early in her career, preferring to investigate how colours behave when placed in proximity to one another. Her background in textile design and fashion is evident in the clean lines and deliberate placement of each element. The print reflects her interest in the rhythmic qualities of geometry, where the viewer perceives the image as a series of visual vibrations rather than a static object. By stripping away narrative content, she allows the viewer to engage directly with the physical properties of the ink and paper. This piece is representative of her later graphic output, where she refined her earlier experiments into precise, bold statements of form. The clarity of the composition makes it a clear example of her approach to non-objective art, where the primary goal is the creation of a visual harmony through the careful calibration of hue and geometry.
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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. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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Manufacturing
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.
Composition Red, Blue, Black, White - Sonia Delaunay
Our Features
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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
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
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- 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
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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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