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

Giclée print by 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 and high-quality paper, made in Germany with acid- and chlorine-free wood pulp.
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 stored in a professional art folder, and is therefore in perfect condition).
- Provenance: Private collection.

The work will be carefully handled and packaged in reinforced cardboard packaging. The shipment will be traceable with a tracking number.

Shipping will also include transport 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 theoretician Robert Delaunay is one of the most relevant figures for understanding the birth of abstraction at the beginning of the 20th century. After training as a stage designer, around 1905 he became interested in the Post-Impressionists Gauguin and Seurat and in Michel-Eugène Chevreul’s color studies. He participated in the early stages of Cubism, although 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 which would ultimately lead to abstraction.
In 1910 he married Sonia Terk, a painter of Ukrainian origin, with whom since then he shared artistic concerns and numerous projects. He was invited by Wassily Kandinsky to participate in the first Der Blaue Reiter (Blue Rider) exhibition 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 or Johannes Itten.
The Delaunay family were on the Iberian Peninsula at the outbreak of World War I, which caused them to remain in Portugal, first, and then 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 leaned again 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 created, together with his wife, large colored reliefs for the Paris World's Fair of 1937, and in 1938 some paintings intended to decorate the sculpture room of the Salon des Tuileries.