Collection

Robert Delaunay
French, 1885-1941

Rythme, c. 1932-1937
Oil on artist board
Bequest of Gladys K. Delmas, class of 1935
1992.15.27
Period: 20th c
Classification: Painting
Dimensions: Unframed: 24 5/8 x 16 7/8 in. (62.55 x 42.86 cm) Framed: 29 3/4 x 21 x 1 1/8 in. (75.57 x 53.34 x 2.86 cm)
Signatures, Inscriptions and Markings v
Signed (verso, UC): Delaunay
Provenance v
This work has been examined by the Provenance Project, 05-06
Published References v
Kunsthaus, Zurich, Robert Delaunay and The City of Lights, (Zurich: Zurcher Kungstgellschaft/Kunsthaus Zurich, 2018) p. 129, repr.
Exhibition History v
Japan, Shimane Art Museum, "Paris--New York; Modern Paintings in 19th and 20th Century Master Works from the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York," March 7 - May 11, 2008; Japan, Ishibashi Museum of Art, "Paris--New York; Modern Paintings in 19th and 20th Century Master Works from the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York," May 17 - July 20, 2008; Japan, Yamagata Museum of Art, "Paris--New York; Modern Paintings in 19th and 20th Century Master Works from the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York," July 30 - August 31, 2008; Japan. Fuchu Art Museum, "Paris--New York; Modern Paintings in 19th and 20th Century Master Works from the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York," September 6 - November 3, 2008; Japan, Miyazaki Prefectural Art Museum, "Paris--New York; Modern Paintings in 19th and 20th Century Master Works from the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York," November 14 - December 14, 2008. Poughkeepsie, New York, The Frances Lehman Loeb Art Center, Vassar College, "Pictures of Nothing: Abstract Art from the Permanent Collection," July 12 - September 8, 2013. Zurich, Switzerland, Kunsthas Zurich, "Robert Delaunay and The City of Lights," August 31 - November 18, 2018. Cat. 75, repr.
Description v
Robert Delaunay worked during the first half of the twentieth century as a color theorist in the tradition of his nineteenth-century precursors Michel- Eugène Chevreul and Paul Seurat. His colorful, fractured images of the Eiffel Tower, and his first color disc paintings of the years prior to the outbreak of the First World War, became France’s answer to the Futurist and Vorticist movements in Italy and Britain. Delaunay worked in Paris until 1914, and again after 1920. It was there, according to his wife Sonia’s journals, he made the acquaintance of Jean Delmas, a publisher of artists’ books at the studio of the artist Emmanuel Gondouin in 1935. Delmas married a Vassar graduate, Gladys Kriebel, in 1937, and husband and wife patronized a number of French artists for the next several decades. Delaunay and the Delmases met on at least two more documented occasions in the 1930s. The Delmas col- lection contains two additional Delaunay prints (one inscribed “à Delmas, à toute amitie”) in addition to many works by the artists in the same circle in Paris in the 1930s, including Gondouin, Matisse, Fougeron, Pignon, and Gischia. This painting by Delaunay is unique in having been painted within a frame that, itself, was decorated by the artist to enhance the composition.
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