Robert Delaunay - Joie de Vivre - Fine art giclée - 60x54 - Licensed print *COA*

Giclée (*) print of Robert Delaunay (**)
Reproduction of the work “Joie de Vivre,” created by Robert Delaunay in 1930.
Luxury edition on matte archival digital paper 250 g/m². A very versatile, high-quality paper, manufactured in Germany with acid- and chlorine-free wood pulp.
Authorized print with copyright.
Includes Certificate of Authenticity (COA).

- Sheet dimensions: 54 x 60 cm
- Image dimensions: 44 x 50 cm
- Condition: Excellent (this work has never been framed or exhibited, always kept in a professional art folder, thus preserved in perfect condition).
- Provenance: Private collection.

The artwork will be carefully handled and packed in reinforced cardboard packaging. Shipping will be tracked 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.

(*) Giclée is a term that refers to a high-quality fine art printing method, digitally created with inkjet printers. This process uses pigment-based inks and specialized papers to achieve great sharpness, color accuracy, and durability, ideal for art and photograph reproductions.

(**) The French painter and theorist Robert Delaunay is one of the most significant figures for understanding the birth of abstraction in the early 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 days 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 La iglesia de Saint-Séverin, La Torre Eiffel and Las ventanas simultáneas 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. He was invited by Wassily Kandinsky to participate in the first Der Blaue Reiter (The 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, and 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 once again leaned toward abstraction and from then on 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 1937 Paris World Exposition, and in 1938 paintings intended to decorate the sculpture hall of the Salon des Tuileries.