Anyone having a quick peruse of my own personal artwork will know that I am a huge lover of colour. As far as I am concerned, what point is there in having colour available if it is only to be muddied and diminished with blacks and browns? No doubt sharing my opinion were some of the boldest expressionist and modernist painters of the 20th century, whose bold use of colour was at first seen as terribly scandalous but which eventually came to characterise an entire generation of art, when the boundaries of accepted aesthetic values were pushed to new extremes.
Chief amongst them were a tremendous twosome – what today may be termed a “power couple” – two of the greatest proponents of modernist expressionism and of the power and glory of pure colour: Robert and Sonia Delaunay. Together, these two artists, who married in 1910 and in 1912 proclaimed the birth of Simultanism, refocused the attention of the art world on the dynamic power of colour, using the strength and unique characteristics of colours as an end in themselves rather than a means of expressing something else. The paintings and other artworks which resulted are progressively abstract explosions of structured colour which, by virtue of their use of a full panoply of rainbow hues, are full of expressive happiness and boundless energy.
Of course as is often the case with a power couple, there is often one of the two who history overlooks, and few could argue that it was Sonia who remained in the shadow of her husband for many years during and following their successful careers, a fact which is not ignored by the Museum of Modern Art in Paris (MAM) who were therefore determined to stage a bigger and even more significant Sonia Delaunay retrospective when they opened their Sonia expo a few months ago.
The result is an exhibition which is every bit as full of the Delaunay dynamism and energy as the paintings themselves. It is a show which demonstrates that although it was Robert Delaunay who conceptualised abstraction as a universal language, it was Sonia who experimented with it in all sorts of media, including posters, clothes and objects, and much of the MAM show comprises Sonia’s dapple in fashion, for which she designed countless zany fabrics and original outfits, as well as her determination to include abstraction and colour within the household, and as a backdrop to theatre, parties and other everyday recreational activities.
For me, the main success of the MAM show is its collection of Sonia’s paintings which, when seen as a group, vibrate full of the energy and exhilaration which results from bringing together so many electric colours in one room. I particularly love how her consistent use of coloured circles is occasionally adapted to more figurative imagery, such as her abstract image of flamenco dancers, where the use of circles adds to the feel of fast sweeping dance movement. I was also interested to see how the genesis of her work was so much more figurative than it was abstract, but that even from the very beginning, her use of colour remained strong, so that even the simplest of portraits contain a face or skin tone loaded with a palette full of colour.
And it is for this unyielding uninhibited use of colour that I love the work of both Sonia and Robert Delaunay. But right now Sonia’s work is hogging more of the spotlight, an quite rightly too – every person deserves their place in the sun.
Sonia Delaunay: The Colours of Abstraction is only open for another few days at the Musée d’Art Modern de la Ville de Paris, closing on 22 February 2015. But worry not, for come April the retrospective will reopen in London’s Tate Modern, running until August.