Sonia Delaunay

Sonia Delaunay Le Bal Bullier

I have to be careful with the posters I buy in world-famous museums. The first time I went to Tate Modern, at the age of sixteen, I decided to buy a poster of Matisse’s ”The Snail”, one of the works I had been impressed by. Two years later, I went to Paris with a friend and decided that I wanted to take home a poster of Robert Delaunay’s ”Joi de Vivre”, again by which I had been tremendously inspired. Believe it or not, for some weird reason Tate Modern is putting on exhibitions that match my tastes perfectly. Lat year it was a retrospective on Matisse’s cut-outs (see post below), while this summer they’ve decided to take us to the colourful world of Sonia Delaunay, whose work has unsurprisingly much in common with that of her husband Robert. Next time I go to a famous museum and buy a poster, I’ll let you know in advance.

Needless to say, the retrospective on Sonia Delaunay Tate has put together has just blown my mind. It’s got perhaps everything you may want from an art exhibition: it’s inspiring, informative, fascinating, and seriously beautiful. More than anything else, the exhibition manages to give an idea of the development of Sonia’s career, from her first abstract work (a patchwork coverlet) to her impressive covers for famous magazines, and her huge variety of media, from fabric to mosaic. Being naturally attracted by anything that is colourful and shapely, every single piece of the exhibition captured my attention. Colour is undoubtedly the protagonist of this retrospective, but so is the progression towards abstractism. My favourite work (the one above) was ”Le Bal Bullier”, as it spectacularly blends real figures with bright shapes, constituting perhaps the last step before a total embrace of abstractism. It is also fascinating the way Sonia finds to apply art to virtually all aspects of life, in particular fashion. The large room that displays this is full of sketches of quirky shapes of every possible colour. The dynamism of Sonia’s patterns is also conveyed by fthe animated window display with four fabric scrolls, which dominate one wall of the large ‘fabric room’ and gibe a sense of the ever-changing dimension of Sonia’s art.

I sadly wasn’t able to buy the poster for this one, as there were none on sale. But after all, Tate has already done an exhibition on Sonia Delaunay, so there’s no real need for me to buy one of her works.


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