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a short-lived movement in art founded in 1912 by Robert DelaunayDelaunay, Robert
, 1885–1941, French painter; husband of Sonia Delaunay-Terk. By 1909, Delaunay had progressed from a neoimpressionist phase to cubism, applying cubist principles to the exploration of color.
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, Frank KupkaKupka, Frank or František
, 1871–1957, Czech painter, etcher, and illustrator. Kupka illustrated works by Reclus and Leconte de Lisle and an edition of Aristophanes' Lysistrata.
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, the DuchampDuchamp, Marcel
, 1887–1968, French painter, brother of Raymond Duchamp-Villon and half-brother of Jacques Villon. Duchamp is noted for his cubist-futurist painting Nude Descending a Staircase,
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 brothers, and Roger de la Fresnaye. Apollinaire coined the term orphism to describe the lyrical, shimmering chromatic effects that these painters sought to introduce into the drier aesthetic of cubismcubism,
art movement, primarily in painting, originating in Paris c.1907. Cubist Theory

Cubism began as an intellectual revolt against the artistic expression of previous eras.
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. Moving toward pure abstraction, the orphists saw painting as sensation. For a time their number included Léger, Picabia, Chagall, and Gliezes. The movement influenced the German Blaue ReiterBlaue Reiter, der
[Ger.,=the blue rider], German expressionist art movement, lasting from 1911 to 1914. It took its name from a painting by Kandinsky, Le cavalier bleu.
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 group and the American synchromists Stanton Macdonald-WrightMacdonald-Wright, Stanton,
1890–1973, American artist, b. Charlottsville, Va. Macdonald-Wright was among the first Americans to paint in a totally abstract mode. Together with Morgan Russell, he founded synchromism in 1912.
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 and Morgan RussellRussell, Morgan,
1886–1953, American painter, b. New York City. Russell, together with Stanton Macdonald-Wright, founded synchromism in Paris in 1913. Structuring his paintings on interlocking planes of color, Russell created volume and mass with color alone, as in
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a school of French painting that arose in the second decade of the 20th century. It was given its name in 1912 by Apollinaire. Orphism developed from cubism yet revealed a kinship to the modernist schools of futurism and expressionism. The movement’s founder and principal theorist was R. Delaunay. Other members included F. Kupka, F. Picabia, and M. Duchamp. The group sought to express the dynamics of movement and the musicality of rhythms by means of the interpenetration of primary colors and the intersection of curvilinear surfaces. The orphists very soon turned to abstractionism.

References in periodicals archive ?
Push through until the pointy end comes out at the dense cluster of lines where Orphism is snuggling up to such utopian developments as De Stijl, Suprematism, and the Machine Aesthetic.
cemeteries in Lucania and Sicily or a study of Orphism in the Black Sea region and southern Italy).
His topics are Orphic religious presence in the Imperial Age, fields of intersection, Orphic tradition in Christian apologetic literature, Christian strategies, and Orphism in the light of Christian apologetics.
As exemplified by Sartre's preface, Orphism was a popular trend among intellectuals both in France and in Brazil in the 1940s and 1950s.
Though not mentioned as such in the exhibition, Le Corbusier's brand of Orphism was thus highlighted.
These included, as he wrote in his journals, Cubism, Futurism, Purism, Orphism, Expressionism, Dadaism, Surrealism, "and an avalanche of exposed secrets.
For a discussion of modern art and the occult, see Adrian Hicken, Apollinaire, Cubism and Orphism, Aldershot, 2002.
When one comes across such phrases in Bloom, the temptation is to read them as religious utterances, formulas lifted from Gnosticism, Orphism, or some even more obscure byway of belief.
In the pages of its Almanach, illustrations of Kandinsky's abstractions shared attention with the modernism of the School of Paris--the Cubism of Picasso, the Fauvism of Matisse, and the so-called Orphism of Robert Delaunay, in addition to the less classifiable paintings of Henri Rousseau--as well as a miscellany of European folk art, medieval woodcuts, and primitive tribal art.
On the connection between the very intangible Orphism and Pythagoras and Pythagoreanism, especially regarding the difficult issue of metempsychosis, see Burkett, 125-33, esp.
Among them are a divine intervention in Homer's Iliad, superstition in Characters by Theophrastus, divine forms in Plato's Symposium, epilepsy in the Hippocratic Sacred Disease, Orphism all over the place, and curse tablets.