Sonia Delaunay-Terk

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Delaunay-Terk, Sonia

(dəlōnā`-tĕrk`), 1885–1979, Russian painter and designer; wife of 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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. Raised in St. Petersburg, she moved to Paris in 1905. With her husband, she developed orphismorphism,
a short-lived movement in art founded in 1912 by Robert Delaunay, Frank Kupka, the Duchamp brothers, and Roger de la Fresnaye. Apollinaire coined the term orphism
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, a movement that strove for the harmonious mixture of colors. After World War I, her interest shifted to fashion design, but returned to painting in the 1930s. In 1937, she collaborated with her husband on a mural for the Paris Exposition. During the 1950s, she exhibited regularly and her work was the subject of retrospectives in Paris and Lisbon. In 1964, she was the first living woman to exhibit at the Louvre. She designed (1968) the costumes and setting for Stravinsky's Danses Concortantes.
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Later, having dazzled me with a tour through roomfuls of canvases by Nolde, Heckel, Sam Francis, Vlaminck, Severini, Delaunay-Terk and Braque ('from the Fauvist period, no browns here'), sculptures by Hepworth, Moore, Kirchner, Chadwick, Tinguely, Calder and more, we finally come to rest in front of Modigliani's large portrait of Jeanne Hebuterne.
I once saw some Cubist costumes, designed by Sonia Delaunay-Terk, and so I can imagine a Cubist wedding in which the bride wore a frock of squares, with the matron of honor done up in triangles.
Apart from Sonia Delaunay-Terk, newly cast here in a key role, all these artists figured fairly prominently in Barr's original show.
Recently, however, with "La danza de los colores: E torno a Nijinsky y la abstraction" (Dance of Colors: Around Nijinsky and Abstraction), curators Hubertus GalBner and Daniel Koep (respectively director and curator at the Kunsthalle Hamburg, where a different version of the exhibition was first mounted) made a case for Nijinsky as a significant contributor to modernist abstraction, presenting his work in the context defined by four pioneers of the movement, Vladimir Baranov-Rossine, Sonia Delaunay-Terk, Alexandra Exter, and Frantisek Kupka--three Russians and a Czech, all of them present in Paris during Nijinsky's heyday with the Ballets Russes, though it's unclear whether any of them ever actually saw Nijinsky perform or had any contact with him.