Robert Delaunay - Circle Forms - Fine art giclée - 60x43 - Licensed print

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

- Sheet dimensions: 43 x 60 cm
- Subject dimensions: 33 x 50 cm
- Condition: Excellent (this work has never been framed or exhibited, always stored in a professional art portfolio, and is therefore in perfect condition).
- Provenance: Private collection.

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

The shipment 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 theorist Robert Delaunay is one of the most relevant figures for understanding the birth of abstraction at the beginning of the 20th century. After his 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, 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 Saint-Séverin Church, the Eiffel Tower, and the Simultaneous Windows marked this path that would eventually lead to abstraction.

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

The Delaunay family was in the Iberian Peninsula when World War I broke out, 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 Dada 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 created, together with his wife, large colored relief works for the 1937 Paris World’s Fair, and in 1938 some paintings intended to decorate the sculpture room of the Salon des Tuileries.