Welcome to the brand new Arthive! Discover a full list of new features here.

The City Of Paris

Robert Delaunay • Painting, 1912, 267×406 cm
Comments
0
About the artwork
Art form: Painting
Subject and objects: Portrait, Architecture
Style of art: Cubism
Technique: Oil
Materials: Canvas
Date of creation: 1912
Size: 267×406 cm
Artwork in collection: Smart and Beautiful Natalya Kandaurova
Artwork in selections: 19 selections

Description of the artwork «The City Of Paris»

Huge picture "City Of Paris" one of the last works of Delaunay's cubist style. The artist himself, this period is called destructive and in the same year, when he wrote "Paris", announced the creation of a new direction in painting – simultanism (from simul - simultaneously), which puts in the forefront color.

Cubism in the interpretation of Delaunay comes out light, airy and bright. His cubist experiments is, first and foremost, the game with light. Light streams from everywhere, it is a full "character", breaking up into fragments, it is literally woven into the image. Delaunay not interested in the unfolding of the fragments forms a much more exciting task for him to spread out the light into its components. Actually, the reason for the departure from cubism he will call this factor: "Light as an element of the picture violates the constructive lines". And it is a violation of Robert Delaunay, much nicer than the line itself.

In paintings of this period Robert Delaunay had already departed from the cubist line, returning to the blurry smear postimpressionist. Very soon he will announce that the essence of painting in color and light. Not yet announced, but it is obviously in the passport data of the "City of Paris" want to chat "oil on canvas" and "light color".

"City of Paris" incorporates elements of the previous paintings in the same style. "The three graces" there are here, but they are not the main characters, and participants in the great event called Paris. The right is recognized, the Eiffel tower is a pet Robert Delaunay. On the left we see the houses, the bridge over the Seine, floating on her cloud.

Picture breaks up into fragments, each of which is subordinate to own term. Tallest building on the right side we can see clearly from a different position than being in the depths of the Eiffel tower. Three female figures in the foreground reach the audience very close, while the bridge over the Seine to the left of them clearly is in the distance, and the houses behind the bridge is generally visible at an angle. It seems that the eye perceives the painting, is moving in this opposite space. The diversity of perspectives at the same time confronting the viewer, is the forerunner of simultanism. Robert Delaunay with surprising ease, connected the different elements. The picture does not make an impression of clutter designs – on the contrary, ease, grace and radiance became the glue that connected the disparate pieces into a single indivisible whole. Writer Blaise Cendrars succinctly expressed what is happening on the canvas Delaunay phrase: "There are so many points of view!"

Author: Alain Esaulova
Comments