Orphism or Orphic Cubism , a term coined by the French poet Guillaume Apollinaire in 1912, was an offshoot of Cubism that focused on pure abstraction and bright colors, influenced by Fauvism , the theoretical writings of Paul Signac , Charles Henry and the dye chemist Michel Eugène Chevreul . This movement, perceived as key in the transition from Cubism to Abstract art , was pioneered by František Kupka , Robert Delaunay and Sonia Delaunay , who relaunched the use of color during the monochromatic phase of Cubism. The meaning of the term Orphism was elusive when it first appeared and remains to some extent vague.
24-465: (Redirected from Orphists ) Orphism may refer to: Orphism (art) , a school of art, also known as "Orphic cubism" Orphism (religion) , a religious movement in antiquity, supposed to have been founded by Orpheus Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Orphism . If an internal link led you here, you may wish to change
48-520: A "proud soldier, calm, placid, strong", but really too old to be a soldier, being at least 25 years older than the rest. When the regiment set out from Paris for the front in Picardy (they marched all the way on foot) Mme Kupka met the column as they arrived at the La Défense roundabout, near where they lived. She marched with them, carrying her husband's bag and his rifle. She would have marched all
72-490: A format previously explored by Sir Isaac Newton and Hermann von Helmholtz . This work in turn led Kupka to execute a series of paintings he called "Discs of Newton" (1911–12). Works in Peggy Guggenheim Collection , Venice, Italy : Other works include The Cathedral (Katedrála) . In March 2021, Kupka's Le Jaillissement II sold for £ 7,551,600 in an auction organized by Sotheby's , so far
96-537: A meaningful structure and sublime significance." Orphism represented a new art-form, much as music was to literature. These analogies could be seen in the titles of paintings such as Kupka's Amorpha: Fugue in Two Colors (1912); Francis Picabia 's Dance at the Source (1912) and Wassily Kandinsky 's Über das Geistige in der Kunst (1912). Kandinsky described the relationships between sound and color. Robert Delaunay
120-598: A pure lyrical abstraction . They saw art as the unification of sensation and color. More concerned with sensation, they began with recognizable subjects, depicted with abstract structures. Orphism aimed to vacate recognizable subject matter by concentrating exclusively on form and color . The movement also strove toward the ideals of Simultanism: endless interrelated states of being. The decomposition of spectral light in Neo-Impressionist color theory of Paul Signac and Charles Henry played an important role in
144-575: A suburb of Paris, and the same year exhibited for the first time at the Salon d'Automne . Kupka was deeply impressed by the first Futurist Manifesto , published in 1909 in Le Figaro . Kupka's 1909 painting Piano Keyboard/Lake marked a break in his representational style. His work became increasingly abstract around 1910–11, reflecting his theories of motion, color, and the relationship between music and painting ( orphism ). In 1911, he attended meetings of
168-401: Is thought to have possibly influenced other artists like Robert Delaunay ). Margit Rowell described his painting The Yellow Scale (c. 1907) as "Kupka's first attempt to come to terms with color theory in which the result is both personal and successful". Although a self-portrait, the subject of the painting was the color yellow. Around 1910 he began developing his own color wheels, adapting
192-635: The Puteaux Group ( Section d'Or ). In 1912, he exhibited his Amorpha. Fugue à deux couleurs , at the Salon des Indépendants in the Cubist room, although he did not wish to be identified with any movement. Creation in the Plastic Arts , a book Kupka completed in 1913, was published in Prague in 1923. In 1931, he was a founding member of Abstraction-Création . In 1936, his work was included in
216-718: The Kunstverein, Vienna, in 1894. His involvement with theosophy and Eastern philosophy dates from this period. By spring 1894, Kupka had settled in Paris; there he attended the Académie Julian briefly and then studied with Jean-Pierre Laurens at the École des Beaux-Arts . Kupka served as a volunteer in the First World War, and is mentioned in La Main coupée by Blaise Cendrars . Cendrars describes him as
240-564: The Orphism of the Delaunays. Franti%C5%A1ek Kupka František Kupka (23 September 1871 – 24 June 1957), also known as Frank Kupka or François Kupka, was a Czech painter and graphic artist . He was a pioneer and co-founder of the early phases of the abstract art movement and Orphic Cubism ( Orphism ). Kupka's abstract works arose from a base of realism , but later evolved into pure abstract art. František Kupka
264-526: The ambiguity of 'simultaneity'. Apollinaire no longer used the term Orphism in his subsequent writings and began instead promoting Picabia, Alexander Archipenko , and Futurist concepts. Robert Delaunay and his wife Sonia Terk Delaunay remained the main protagonists of the Orphic movement. Their earlier works focused on Fauvist colors, variously abstract; such as Sonia's 1907 Finnish Girl and Robert's 1906 Paysage au disque . The former relying on pure colors,
SECTION 10
#1732786540520288-477: The development of Orphism. Robert Delaunay , Albert Gleizes , and Gino Severini all knew Henry personally. A mathematician, inventor, and esthetician, Charles Henry was a close friend of the Symbolist writers Félix Fénéon and Gustave Kahn . He also knew Seurat , Signac and Pissarro , whom he met during the eighth and last Impressionist exhibition in 1886. Henry brought emotional associational theory into
312-518: The early 1950s, he gained general recognition and had several solo shows in New York. Between 1919 and 1938 Kupka was financially supported by his good friend, art collector and industrialist Jindřich Waldes who accumulated a substantial collection of his art. Kupka died in 1957 in Puteaux , France. Kupka had a strong interest in color theory and freeing colors from descriptive associations (which
336-688: The exhibition Cubism and Abstract Art at the Museum of Modern Art in New York City, and in an important show with another Czech painter, Alphonse Mucha , at the Jeu de Paume in Paris. A retrospective of his work took place at the Galerie Mánes in Prague in 1946. The same year, Kupka participated in the Salon des Réalités Nouvelles , where he continued to exhibit regularly until his death. During
360-547: The latter on color and mosaic-like brushstrokes painted under the influence of Jean Metzinger , also a Neo-Impressionist (with highly Divisionist and Fauve components) at the time. Even though Orphism was effectively dissolved before World War I , American painters Patrick Henry Bruce and Arthur Burdett Frost , two of R. Delaunay's pupils, embarked on a similar form of art from 1912 onward. The Synchromists Morgan Russell and Stanton Macdonald-Wright wrote their own manifestos in an attempt to differentiate themselves from
384-469: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Orphism&oldid=986852412 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Orphism (art) The Orphists were rooted in Cubism but tended towards
408-414: The particles of color, and the relation to emotion of the viewer. The underlying theory behind Neo-Impressionsim had a lasting effect on the works of Delaunay. The Neo-Impressionists had succeeded in establishing an objective scientific basis for their painting in the domain of color, but only as regards the spectrum of light (for paint pigments the result was less scientific). The Cubists ultimately employed
432-541: The realm of art: something that ultimately influenced the Neo-Impressionists. Henry and Seurat agreed that the basic elements of art—line, color and form—like words, could be treated independently, each with its own abstract quantity, independent of one another, or in unison, depending on the intention of the artist. "Seurat knows well" wrote Fénéton in 1889, "that the line, independent of its topographical role, possesses an assessable abstract value" in addition to
456-757: The salon in Montjoie (29 March 1913) Apollinaire argued for the abolition of Cubism in favor of Orphism: "If Cubism is dead, long live Cubism. The kingdom of Orpheus is at hand!" The Autumn salon ( Erster Deutscher Herbstsalon , Berlin) of 1913, organized by Herwarth Walden of Der Sturm , exhibited many works by Robert and Sonia Delaunay, Jean Metzinger 's L'Oiseau bleu (1913, Musée d'Art Moderne de la Ville de Paris), Albert Gleizes ' Les Joueurs de football (1912–13, National Gallery of Art), paintings by Picabia, and Léger, along with several Futurist works. From this exhibition Apollinaire's relation with R. Delaunay cooled, following remarks with Umberto Boccioni about
480-493: The term Orphism in an address at the Salon de la Section d'Or in 1912, referring to the pure painting of František Kupka . In his 1913 Les Peintres Cubistes, Méditations Esthétiques Apollinaire described Orphism as "the art of painting new totalities with elements that the artist does not take from visual reality, but creates entirely by himself. [...] An Orphic painter's works should convey an 'untroubled aesthetic pleasure',
504-467: The theory to some extent in color, form and dynamics . The Symbolists perceived Orpheus of Greek mythology as the ideal artist. In 1907 Apollinaire wrote Bestiaire ou cortège d'Orphée , symbolizing Orpheus as a mystic and influential poet and artist, just as the Symbolists. The voice of light that Apollinaire mentioned in his poems was a metaphor for inner experiences . Apollinaire mentioned
SECTION 20
#1732786540520528-503: The way to the front, but at the end of the first day the colonel had her arrested and sent back to Paris. She later made her way to the front lines to spend time with her husband. Kupka himself left the front due to frostbite in the foot, caused by nights in the trenches waist-deep in freezing water. Kupka worked as an illustrator of books and posters and, during his early years in Paris, became known for his satirical drawings for newspapers and magazines. In 1906, he settled in Puteaux ,
552-679: Was born in Opočno (eastern Bohemia ) in Austria-Hungary in 1871. From 1889 to 1892, he studied at the Academy of Fine Arts in Prague . At this time, he painted historical and patriotic themes. Kupka enrolled at the Academy of Fine Arts in Vienna , where he concentrated on symbolic and allegorical subjects. He was influenced by the painter and social reformer Karl Wilhelm Diefenbach (1851–1913) and his naturistic life-style. Kupka exhibited at
576-481: Was concerned with color and music, and exhibited with the Blaue Reiter at the request of Kandinsky. The increasingly abstract paintings of Fernand Léger and Marcel Duchamp were also treated as Orphists by Apollinaire. The Salon de la Section d'Or in 1912 was the first exhibition that presented Orphism to the general public. In March 1913 Orphism was exhibited at the Salon des Indépendants in Paris. Reviewing
#519480