orphism


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orphism,

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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.

Orphism

 

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 ?
1986), Hart Crane's Harp of Evil: A Study of Orphism in the Bridge.
Robert Delaunay's Orphism is rooted in modernity's bedazzling optical effects and, as his later work shows, is a very different project from the more robustly systematic and relational forms of abstraction emerging elsewhere, just as Leger's abstraction would also be a vivid if short-lived phase.
The show is really looking at his search for his own artistic identity, but we're looking at that through the prism of Cubism, Orphism, Supremitism.
Among her influences Mary lists the French artist Robert Delaunay who, with his wife Sonia, developed an art movement called orphism which featured strong colours and geometric shapes.
Fauvism, German Expressionism, Cubism, Orphism, Purism, Non-Objective Art, Dadaism, Surrealism, Abstract Expressionism, Pop Art, Op Art, Minimalism, Photo-Realism, Feminist Art, Neo-Expressionism, Post-Modernism, and Neo-Geo have all played out in the drama of conflicting styles and ambitions in the course of the century.
Tearing Apart the Zagreus Myth: A Few Disparaging Remarks on Orphism and Original Sin.
Cubism certainly got to Chagall (it got to everybody), as did the swirling disks of Robert Delaunay's Orphism.
The most widely accepted theory is that the silence surrounding this mystery stems from the fact that it contained nothing that could be expressed in words; but this ineffability, as Erwin Rohde argued in his Psyche, is essentially different from mysticism, considered as a union with the divine: the mysticism in Ancient Greece was Orphism, not the Eleusinian mysteries.
The author covers important pages dealing with this last issue, analyzing from an anthropological perspective the interaction between Mithraism, respectively Orphism (on the one hand) and Christianity (on the other hand).
Of particular interest is her insightful portrait of Fuller's evolving mysticism as it grew from Platonic Orphism into a messianic nationalism founded in part on Adam Mickiewicz's connections with the Circle of God.
His study is interesting as it attempts to link Miller's writings to the ancient cult of Orphism.
These appear alongside shorter articles addressing everything from elephants and optics to oracles and Orphism.