Where did robert delaunay study
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Robert Delaunay
French painter (1885–1941)
Robert Delaunay (French:[ʁɔbɛʁdəlonɛ]; 12 April 1885 – 25 October 1941) was a French artist of the School of Paris movement;[1] who, with his wife Sonia Delaunay and others, co-founded the Orphismart movement, noted for its use of strong colours and geometric shapes. His later works were more abstract. His key influence related to bold use of colour and a clear love of experimentation with both depth and tone.
Overview
Delaunay is most closely identified with Orphism. From 1912 to 1914, he painted nonfigurative paintings based on the optical characteristics of brilliant colors that were so dynamic they would function as the form. His theories are mostly concerned with color and light and influenced many, including Stanton Macdonald-Wright, Morgan Russell, Patrick Henry Bruce, Der Blaue Reiter, August Macke, Franz Marc, Paul Klee, and Lyonel Feininger. Art critic Guillaume Apollinaire was strongly influenced by Delaunay's theories of color and often quoted from them to explain Orphism, which he had named.[ French painter, born in Paris. Apprenticed for two years to a theatrical designer, then began to paint. Influenced by Neo-Impressionism 1906-7, afterwards by Cézanne; a friend of Metzinger and the Douanier Rousseau. Series of pictures of 'Saint-Séverin', 'The Eiffel Tower' and 'The City'. Married the painter Sonia Terk in 1910. Exhibited in the Cubist room at the Salon des Indépendants in 1911 with Metzinger, Gleizes, Léger and Le Fauconnier. Started to use pure colours again early in 1912 and at the end of the same year painted his first 'Disc' and 'Circular Forms', his first abstract pictures. First one-man exhibition at the Galeries Barbazanges, Paris, 1912. His work was much admired in Paris by Apollinaire, who gave it the name Orphism, and in Germany by Klee, Macke and Marc. Lived in Spain and Portugal during the First World War; returned to Paris in 1920. After painting various figurative themes such as nude women reading, runners and portraits, he returned in 1930 to complete abstraction and made numerous compositions with circular Rhythms was painted by Robert Delaunay in 1934. It was inspired by the round shapes that marked the return of the artist to Orphism and the study of harmony in painting. For Delaunay, modernity was defined by its excessiveness. Under the effects of urban novelties from the gigantism of the Eiffel Tower to the impact of billboards, through the electrification of streets and the rise of aviation, he saw this modernity as a visual overflow, an optical sensation that submerges the viewer, glaring and dazzling. This quest for “pure painting”, which puts the eye of the viewer in direct contact with the agitation of the real, merges with a test of the medium of the easel painting. From his first landscape to the first circular forms painted in 1913, Delaunay, inspired by astral theories as well as by the movement of the propellers and halos of electric lamps, sought to overcome the limits imposed by the format of the canvas by integrating a gyratory dynamic into his compositions. Because it acts directly on the sensitivity o
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Robert Delaunay
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Masterpiece Story: Rhythms by Robert Delaunay
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