A seminal work of Orphism, this painting captures the energy of early 20th-century Paris through fragmented planes and a luminous colour palette.

The City of Paris, painted in 1911, represents a significant moment in the development of early twentieth-century European art. Robert Delaunay moved away from the rigid geometry of early Cubism to explore the interaction of colour and light. This work functions as a synthesis of the urban environment, combining the classical motif of the Three Graces with the modern industrial architecture of the Eiffel Tower. The composition is fragmented, with overlapping planes that suggest a simultaneous view of the city. Delaunay employs a palette of light tones, including yellows, blues, and soft pinks, to create a sense of atmospheric movement. The Eiffel Tower, a recurring subject for the artist, appears as a structural element that anchors the scene, while the figures in the foreground provide a human scale to the vast urban space. The heavy blue curtain on the left side of the canvas acts as a theatrical device, framing the view and drawing the eye toward the centre of the composition. This painting reflects the artist's interest in the theories of Michel Eugène Chevreul regarding the simultaneous contrast of colours. By placing complementary hues side by side, Delaunay generates a sense of rhythm and energy. The work avoids traditional perspective, opting instead for a flattened, multi-layered space that captures the sensory experience of a modern metropolis. It remains a primary example of how artists of the period sought to translate the speed and technological progress of the early 1900s into a visual language. The canvas is large in scale, intended to immerse the viewer in the fragmented reality of the Parisian cityscape.