Robert Delaunay - Circle Forms - Fine art giclée - Licensed print

Giclée print of Robert Delaunay (*)
Reproduction of the work “Circle Forms” created by Robert Delaunay in 1930.
Luxury edition on conservation matte digital paper 250 g/m². A very versatile, high-quality paper, produced in Germany with acid-free wood pulp and chlorine-free.
Authorized print with copyright.

- Sheet dimensions: 43 x 60 cm
- Motif dimensions: 33 x 50 cm
- Condition: Excellent (this work has never been framed or exhibited, always kept in a professional art folder, so it remains in perfect condition).
- Provenance: Private collection.

The work will be carefully handled and packaged in reinforced cardboard. The shipment will be traceable and certified.

The shipment will also include transportation insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer.

The French painter and theorist, Robert Delaunay, is one of the most important figures for understanding the birth of abstraction in the early 20th century. After training as a scenographer, around 1905 he became interested in the Post-Impressionists Gauguin and Seurat and in Michel-Eugène Chevreul’s studies on color. He participated in the early stages of Cubism, though his interest in color contrasts and the dissolution of form through light would mark a divergent note that Guillaume Apollinaire would classify as Orphism in 1912. The series The Church of Saint-Séverin, The Eiffel Tower, and The Simultaneous Windows marked this path that would ultimately lead to abstraction.

In 1910 he married Sonia Terk, a painter of Ukrainian origin, with whom since then he shared his artistic concerns and numerous projects. He was invited by Wassily Kandinsky to participate in the first exhibition of Der Blaue Reiter (The Blue Rider) in Munich, and his treatise on light, which was translated into German, exerted a notable influence on painters such as Paul Klee, Franz Marc, August Macke, and Johannes Itten.

The Delaunay family were on the Iberian Peninsula at the outbreak of World War I, which caused them to stay in Portugal first, and later in Spain during the course of the conflict. During this period his painting returned to figuration. When they settled again in Paris in 1920, Delaunay met André Breton and Tristan Tzara, who introduced him to the new French Dadaist and Surrealist circles. Around 1930 he again leaned toward abstraction and since then participated in exhibitions and events organized by groups such as Cercle et Carré or Abstraction- Création. At the end of his life he produced together with his wife large colored reliefs for the Paris Universal Exhibition of 1937, and in 1938 some paintings intended to decorate the sculpture hall of the Salon des Tuileries.