Relevant bibliographies by topics / Sonya Delaunay

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  2. Dissertations / Theses
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Academic literature on the topic 'Sonya Delaunay'

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Published: 9 March 2023
Last updated: 10 March 2023

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Journal articles on the topic "Sonya Delaunay"

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Moyse Ferreira, Lucy. "Colour, movement and modernity in Sonia Delaunay’s (1926) fashion film." Journal of Visual Culture 19, no. 3 (December 2020): 391–404. http://dx.doi.org/10.1177/1470412920965997.

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Sonia Delaunay is best known for her abstract and colourful style which is manifested across her artwork, fashion, textile and interior designs alike. In 1926, this culminated in a fashion film, titled ‘L’Elégance’. Shot using the Keller-Dorian colour process, the film features a succession of Delaunay’s simultaneous fashion and textile designs. This article explores the implications and origins of the film, considering technological, cultural and social factors. It focuses on the themes of colour and movement that were essential both to the film and Delaunay’s philosophy at large and were strongly related by Delaunay and her contemporaries to modernity and women’s liberation. The author positions Delaunay’s earlier work as a form of proto-cinema and demonstrates how her film uniquely transfers aesthetic and cultural themes. She explains why fashion film was a necessary step for Delaunay and how she employed notions of temporality to further fashion film as an avant-garde form.
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Zarembo, Liene. "ART DECO STYLE’S FEATURES IN THE TEXTILE WORKS OF DESIGNERS SONIA DELAUNAY AND PAUL POIRET." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 530. http://dx.doi.org/10.17770/sie2018vol1.3388.

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Art Deco is an artistic term that stands for an elegant eclectic design style dating back to the 1920s. Style has affected virtually all industries, including architecture, fine arts, applied arts, interior design, industrial design, fashion and jewellery, as well as painting, graphics and cinema. Art Deco architecture and arts expanded on other movements - Constructivism, Cubism, Modernism, Bauhaus, and Futurism. Principles of Constructivism and Cubism are also used in contemporary textile patchwork and quilt. The aim of the paper: exploration of the features of Art Deco style in the textile works of 20th century designers - Sonia Delaunay and Paul Poiret. The methods of the research: exploration of theoretical literature and Internet resources, the experience of reflection.The research emphasizes Sonja Delaunay’s particular importance of textile works in the development of contemporary quilt in the 21st century.
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Andraş, Sonia. "Fashioning simultaneous migrations: Sonia Delaunay and inter-war Romanian connections." Critical Studies in Fashion & Beauty 13, no. 2 (December 1, 2022): 229–53. http://dx.doi.org/10.1386/csfb_00047_1.

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This article analyses the connections between the worlds of fine art and fashion through the complex interconnections between the Parisian-Eastern European creative exile. It follows the common threads between Ukrainian-Jewish artist and fashion designer Sonia Delaunay (1885–1979) and prominent inter-war Parisian Romanians: namely, Tristan Tzara, Constantin Brâncuși and Lizica Codreanu. I suggest the concept of ‘simultaneous migrations’ to illustrate fashion’s mobility beyond and across cultural differences, identities and aesthetics through Sonia Delaunay’s philosophy of Simultaneity, focusing on her inter-war Romanian connections in Paris. The research bridges across the fields of fashion studies, art history and cultural studies, in order to explicate the synapses that shed light on Sonia Delaunay’s ideas of Simultaneity and colour theories to Paris as an ideological, cultural, artistic and identity hub.
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Buckberrough, Sherry, and Arthur A. Cohen. "Sonia Delaunay." Woman's Art Journal 11, no. 1 (1990): 39. http://dx.doi.org/10.2307/1358386.

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Estrada, Lucía. "Sonia Delaunay." Perseitas 6, no. 2 (July 1, 2018): 483. http://dx.doi.org/10.21501/23461780.3030.

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Silveri, Rachel. "Sonia Delaunay, ‘Living Profoundly’." Art History 45, no. 1 (December 15, 2021): 36–65. http://dx.doi.org/10.1111/1467-8365.12620.

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Vasiliev, Alexandre. "Sonia Delaunay and Simultanism." Experiment 22, no. 1 (November 15, 2016): 107–16. http://dx.doi.org/10.1163/2211730x-12341281.

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The life and work of Sonia Delaunay (1885-1979), especially her clothing and textile designs as reflections of the theory of Simultanism, are the focus of this article. Also discussed are her works for the Ballets Russes and other theater companies, her commercial undertakings, the impact of her color theory on Russian artists such as Georgii Yakulov, and her connections with the Paris avant-gardists such as André Lhote and Tristan Tzara.
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Ward, Tara. "Pure Painting and Mottled Colour." Excursions Journal 4, no. 2 (January 24, 2020): 117–23. http://dx.doi.org/10.20919/exs.4.2013.196.

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On the eve of World War I, Guillaume Apollinaire announced the birth of ‘pure painting’. Scholars have typically understood this as an early version of mid-century theories of abstract art; however, that interpretation ignores the poet’s close association with Robert and Sonia Delaunay. Those artists were deeply influenced by M. E. Chevreul, a nineteenth-century colour theorist who showed that complementary hues appear more pure when seen simultaneously. Most often discussed in relation to the phenomenological changes that occur when red and green are viewed side-by-side, simultaneous contrast suggests an alternative view of purity. For the Delaunays, pure painting was not a retreat from the world, but a way of making its dichotomies and conflicts more visible.
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Gronberg, Tag. "Sonia Delaunay: Fashioning the Modern Woman." Women: A Cultural Review 13, no. 3 (November 2002): 272–88. http://dx.doi.org/10.1080/0957404022000026423.

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Danto, Isabelle. "Le futur selon Sonia et Robert Delaunay." Esprit Décmbr, no. 12 (2014): 129. http://dx.doi.org/10.3917/espri.1412.0129.

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Dissertations / Theses on the topic "Sonya Delaunay"

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Godefroy, Cécile. "Le métier simultané : Sonia Delaunay-Terk et la modernité." Paris 4, 2006. http://www.theses.fr/2007PA040060.

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Cet essai monographique considère l’oeuvre de Sonia Delaunay-Terk [1885-1979], figure historique des arts du XXe siècle ayant joué un rôle décisif dans les débuts de l’abstraction, à partir de documents inédits (archives et fonds photographiques des différentes donations léguées à l’État par l’artiste ; collections particulières) et au travers de nouvelles réflexions. La première interroge la notion de métier simultané, qui désigne l’ensemble de la production de l’artiste de 1913 à 1979 et qui, reliée à ses origines slaves, mêle étroitement arts plastiques et arts décoratifs dans une quête sans cesse renouvelée de synthèse. International, promu par les nouveaux modes de communication et mis en scène selon des procédés inédits (poésie, réclames, photographies, cinéma, vitrines et défilés de mode, spectacles avant-gardistes), le simultané met en relation les notions traditionnellement opposées de la peinture et de la culture populaire, de la mode, du commerce, de la publicité, de l’artisanat et de l’industrialisation. Le concept de modernité, qui souligne le caractère pluriel de l’oeuvre, partagé entre nostalgie du passé, souci de démocratisation de l’art et sauvegarde du mythe de l’« aura », est également interrogé pour tenter de replacer Sonia Delaunay au coeur d’une histoire des arts des XXe et XXIe siècles, enrichie de nouvelles approches contextuelles et culturelles
Having played a decisive role in the beginnings of abstraction, Sonia Delaunay-Terk [18851979] is an historical figure in 20th century art. Based on research from previously unpublished documents (archives and photographs from public collections ; private documents), this monographic essay re-explores her work through a series of new reflexions. The first questions the notion of "simultaneous craft" ("métier simultané") which refers to the artist’s entire opus from 1913 to 1979 and, illuminated by her Slavic origins, closely combines visual and decorative arts in a constantly renewed search for synthesis. International, promoted by new channels of communication and presented using innovative processes (poetry, publicity, photography, cinema, fashion displays and shows, avant-gardist theatre), the simultané associates traditionally opposed fields : painting, popular culture, art, fashion, business, advertising, crafts and industrialization. The concept of modernity is also questioned in an attempt to re-position Sonia Delaunay at the heart of 20th and 21st century art history, a history enriched by new contextual and cultural approaches. This concept moreover underlines the plurality of the artist’s work, divided between nostalgia for the past, concern for art democratization and the safeguard of the "aura" myth
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Ward, Tara. "Personal space: simultaneities in the 1913 work of Robert Delaunay, Fernand Léger, and Sonia Delaunay-Terk." Thesis, Boston University, 2013. https://hdl.handle.net/2144/12883.

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Thesis (Ph.D.)--Boston University PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
"Personal Space" examines the influence of M. E. Chevreul's On the Law of Simultaneous Contrast of Colors (1839) on the 1913 work of Robert Delaunay, Femand Leger, and Sonia Delaunay-Terk in order to show that each artist used color theory to develop not only an artistic style, but also a broader metier. That French term encompasses an individual's profession and technical skills as well as the identities, worldviews, and geographic locales associated with it. Michel Foucault's notion of historical problematization provides the framework for understanding how simultaneous contrast could define their art, personae, philosophical stances, and relationship to the urban fabric of Paris. Thus, this dissertation argues that all of these artists used the concept of spatial simultaneous contrast to construct a place for themselves in their intellectual, physical, and social environment. This is in contrast to the more temporal simultaneity of their Cubist and Futurist peers. The text begins with an overview of the problematization of space and time in 1913 Paris and demonstrates how debates about simultaneity could be seen in both works of art and on the streets of the city. The first chapter also shows that Montparnasse houses numerous competing spatial structures in order to explain why these three artists selected it as the home of their metiers. Chapter two argues that Robert Delaunay understood this law of color as a representation of the order of the world by placing his Simultaneous Contrast: Sun and Moon alongside the artist's interest in Baruch Spinoza and his frequent visits to the area surrounding the Paris Observatory, an institution central to the institution of Standard Time. In chapter three, an investigation of Femand Leger's studios is used to explain how his Contrasts of Forms series expresses the artist's identification with heterotopian aspects of the modem built environment. Chapter four contends that Sonia Delaunay-Terk's Simultaneous Dress is the embodiment of her use of simultaneous contrast to manage the competing claims made on her identity, especially those found in the Bal Bullier dancehall.
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Nicoletti, L. P. "PARIGI A TORINO. STORIA DELLE MOSTRE ¿PITTORI D¿OGGI. FRANCIA-ITALIA¿." Doctoral thesis, Università degli Studi di Milano, 2014. http://hdl.handle.net/2434/233397.

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This project reconstructs the development of art exhibitions promoted by the committee “Francia-Italia” in Turin from 1951 to 1964. This committee organized the art exhibitions “Peintres d’aujourd’hui. France-Italie” (or “Pittori d’Oggi. Francia-Italia”), earlier in the halls of the “Promotrice” from 1951 to 1959, and later at GAM from 1961. This committee extends its own action, beyond the seven editions of “Pittori d’Oggi” (1951,1952, 1953, 1955, 1957, 1959, 1961) with Chagall’s (1953), de Staël’s (1960), Robert and Sonia Delaunay’s (1960), Vieira da Silva’s (1964) great exhibitions. The exhibitions “Pittori d’Oggi” arose on the initiative of some influential members of Turin upper middle class and it have been organized by Vittorio Viale, director of Musei Civici, and by the critic of art and journalist Luigi Carluccio. The exhibitions should symbolize the modern art twinning of two nations. For each exhibitions the two different artistic committees, one for France (Cogniat, Cassou, Lassaigne, Estienne, Jullian, Huyghe, Besson, Laymarie) and one for Italy (Viale, Arcangeli, Argan, Carluccio, Pallucchini, Ragghianti e Vitali), draw up long lists of artists who would represent, on their opinion, the best of the artistic production of the two countries. In this way, “Francia-Italia” takes part in the debate between realism and abstractionism and show the progress of critical reception of the French painting in Italy, from Pignon and Manessier to Fautrier.
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Satonobu, Kuniko. "Cercle, triangle, carré : analyse des formes élémentaires et des procédés dans l'oeuvre abstraite de Sonia Delaunay." Paris 1, 1992. http://www.theses.fr/1992PA010502.

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Cette étude sur Sonia Delaunay est essentiellement une tentative d'interprétation de son œuvre abstraite (la période 1930-79). En se limitant aux recherches sur les formes élémentaires de ses compositions et les procédés inhérents à celles-ci, je voudrais expliciter la méthode de travail de Sonia. Dans ce but, nous remontons aux années dix pour déceler la genèse des formes élémentaires et nous poursuivons nos recherches sur sa création des années vingt dans le domaine de l'art appliqué. Partie I : je montre comment le cercle, le triangle et le carré apparaissent dans l'œuvre des années dix. Partie II : je mets en évidence l'évolution de ces formes à travers ses activités des années vingt dans le domaine de la mode, de la danse et des costumes. Partie III : j'analyse sa création sur tissu, les formes élémentaires et les procédés (décaler, tourner, inverser, agrandir, étendre). Partie IV : après avoir donné un aperçu chronologique de l'évolution générale de l'œuvre abstraite de 1930 à 1979, j'examine d'abord les œuvres avec d'un seul motif et puis celles de deux ou de trois motifs; dans cet combinaison de motifs, les méthodes employées dans la création sur tissu joue un rôle essentiel
Sonia delaunay's late work (1930-1979) is the main subject of this analysis which wants to show (1) how she composes her abstract works of that period and (2) how her works are related to her earlier experiences. We find that it is deaply rooted in her activities as a designer of fashion and patterns for textile fabrics in the 1920s and in her early achievements in painting as well as the common research on the concepts of simultaneity with her husband robert. In her works as a fashion and textil designer she invented and applied extensively her basic vocabulary of mainly geometric forms and her workingmethods (manipulating a motif by turning, reversing stretching, splitting) which she used later in her abstract work. For example, in her famous series of the sixties combinig three motifs (triptych) and indifferently called "rythme couleur", she practices clearly these methods to unite the different parts harmoniously. We can conclude that her way of creating abstract works is based on her activity in the field of the applied arts
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Yun-Han, Min Hie. "L'art de Sonia Delaunay : le simultaneisme en tant que "l'art dans la vie" relation entre peinture et arts décoratifs 1910-1941." Paris 8, 1995. http://www.theses.fr/1995PA080991.

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Cette etude sur sonai delaunay est une tentative d'approche de son art par rapport a la notion d'art total. Nous avons choisi de nous en tenir a la periode entre 1910 et 1941 - celle de la vie commune de sonia et robert. Le memoire est constitue de trois parties. La premiere traite de la genese de la peinture de sonia delaunay, des influences chromatique s qui l'ont amenee au simultaneisme. La deuxieme partie est consacre a l'art de sonia delaunay dans la vie quotidienne, notamment les robes et les tissus. Dans cette perspective, a travers une observation de la forme, de la couleur et du mouvement, une analyse comparative est faite des creations en peinture et en arts decoratifs de sonia delaunay. La troisieme partie aborde directement la problematique essentielle pour saisir dans quelle mesure l'art de sonia delaunay. Parvient a se realiser comme une forme d'art total a travers ses creations interdisciplinaires. Ce qui donne son unite a l'art total de sonia delaunay c'est la lumiere de la couleur qui lie souplement les arts particuliers les uns aux autres et les amene a de nouvelles expressions. Le simultane en constitue le denomitaeur commun, a partir duquel peut se degager une conception nouvelle de l'unite et de la totalite, mots cles de sa creation et de ces conceptions.
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Stodolnik, Dorighello Veronica. "When Fashion Encounters the Arts: an Henri Matisse Inspired Spring/Summer 2014 Womens Wear Collection." Kent State University Honors College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1400239202.

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Schauer, Andrea Ruth. "Sonia Delaunay and simultaneity in the twenties." 1987. http://catalog.hathitrust.org/api/volumes/oclc/17462683.html.

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Thesis (M.A.)--University of Wisconsin--Madison, 1987.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 89-96).
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Cardoso, Cristina Isabel Silvestre 1962. "Proposta pedagógica em sala de aula, desenvolvida com base na teoria da cor : os círculos órficos no cubismo cromático." Master's thesis, 2015. http://hdl.handle.net/10451/22655.

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Based on a didactic unit about Colour, this work was developed for a public group from an eighth grade school class. From this Visual Arts' work proposal, emphasis was given to the importance of Art Education on the global formation of the individual and the development of creativity and critical thinking skills, while studying some of the well-known national and international modern artists. It was also considered a brief study of the Portuguese History of Art Education, mainly exploring drawing teaching methods. The legal framework was mentioned as an extra component for the understanding of Art Education reality nowadays. The study was concluded with an analysis of the Arts' Curriculum followed by the project method presentation, considering and introducing the theory developed by the author Bruno Munari, as a key-method of creativity development in school environment. The colour theories from Newton, Goethe, Munsell, Itten, Kandinsky, Klee and Albers are mentioned in this study, being the four last authors mentioned related as Bauhaus teachers. The Orphism is also introduced, as well as the artists’ lifes and art work: Robert and Sonia Delaunay, Amadeo de Souza-Cardoso and Eduardo Viana. In terms of historical context, the work focus the period of time Delaunay couple lived in Portugal, for being the time they had developed art projects together with the other two artists mentioned above. The work developed with the eighth grade classroom is presented and mentioned as the result of the study, that is concluded with a project based on the art work of the four modern artists already mentioned, proving this kind of educational art projects allows the students to develop new skills in terms of arts and culture knowledge as well as opens new paths in their education
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Gursoy, Beylem Cansu. "Fashion and art : the influence of art on fashion and the coexisting relationship in the 20th century western culture." Master's thesis, 2012. http://hdl.handle.net/1822/22401.

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Dissertação de mestrado em Design and Marketing de Moda
This work aims to present the relationship between art and fashion in the 20th century western culture focusing particularly on art movements and how fashion and art inspired each other throughout the years. The specific art movements which are investigated are Surrealism, Cubism, Pop art and the inspiration in contemporary designers such as Alexander McQueen and John Galliano. Notions of fashion and art have been investigated by various numbers of academics and philosophers and the relationship of the two has also been an interesting, yet a demanding topic for a research. Co-existing affair of the two terms has been pointed out by working on specific cases such as Dali and Elsa Schiaparelli, Yves Saint Laurent and several painters like Picasso and further more delving would lead to many more examples. This work intended to exhibit the bold aspects of how fashion and art interacted in terms of design, culture and performance; by some means searching for ways to evaluate art work in aesthetical term and try to measure fashion pieces in the same way. The work is constructed on explaining terms art, fashion, aesthetics and art movements and investigating them further on aspects of design and designers in order to depict the existing relationship with the help of visuals. The academic articles of scholars have also been examined to provide more evidence to the subject matter. With Worth, Poiret and other famous Parisian couturiers fashion and art relationship gained momentum in respect to the way they worked and interacted with the artists of the period. Continuing from on then, fashion and art has had considerable amount of transaction. The previous works inspired the current ones and this cycled continued until present day. Fashion is something that is worth to exhibit in museums today; having its own part. In the end, it is concluded that term investigation of fashion and art is a continuous process because each scholar reckons new perspective or criticizing the existing one, the notions are always up to date with the creation of new works, and therefore, it is best to work on specific cases to have a clear idea about the relationship. The intention of the designer and if the finished product is appealing to the aesthetics are important points to acknowledge when making a judgment of whether fashion is an art or not. From past to present, art and fashion inspired each other with a mutual benefit, they worked together though sometimes fashion has been viewed as only craftsmanship.
Este trabalho tem como objetivo apresentar a relação entre arte e moda na cultura ocidental do século XX, com particular incidência sobre os movimentos de arte, sobre a forma como estes se inspiraram e interagiram, ao longo do tempo. Os movimentos artísticos específicamente investigados são o Surrealismo, o Cubismo, a Pop arte, bem como, a inspiração de designers contemporâneos como Alexander McQueen e John Galliano, nestes e em tantos outros movimentos e artistas. Noções de moda e arte têm sido investigadas, por numerosos académicos e filósofos, sendo a sua relação interessante, embora exigente, como tema de pesquisa. A relação co-existente dos dois temas, tem sido apontada, pesquisar trabalhos em casos específicos como Dali e Elsa Schiaparelli, Yves Saint Laurent e Picasso ou Braque, bem como vários pintores e criadores de moda, o que numa investigação futura levaria a muitos outros exemplos. Assim, o objetivo desta pesquisa, foi o de apresentar os fortes aspectos de como a moda e a arte interagiram tendo, posteriormente, o design como ‘companhia’, oscultando a cultura e verificando a conexão de todos estes elementos. A busca pelas diversas formas de avaliação de obras de arte em termos estéticos e tentar perceber em que medida se poderá actuar da mesma maneira no que respeita a peças de moda. Este trabalho consiste na tentativa de explicar termos como arte, moda, estética e movimentos artísticos, investigá-los sob a perspectiva do design e de designers, a fim de mostrar, com a ajuda de recursos visuais, a relação existente entre todos os elementos. Para isso, contribuiu a ajuda de recursos visuais examinados, bem como, consulta de artigos académicos de outros pesquisadores, no sentido de fornecer mais credibilidade aos assuntos em foco. Com Worth, Poiret e outros famosos costureiros de moda parisiense, o relacionamento da arte obteve impulso, no que diz respeito à forma como os mesmos trabalharam e interagiram, com os artistas das épocas em que estavam inseridos. Sempre existiu uma considerável consonância entre moda e arte. As obras de épocas anteriores inspiraram as atuais e este ciclo continuou até aos dias de hoje. A moda, hoje em dia, é algo que vale a pena expôr em museus, possuindo um lugar próprio . Finalmente, conclui-se que a investigação da moda e arte é um processo contínuo, uma vez que, cada pesquisador avalia uma nova perspectiva ou critica a existente. As noções de moda e arte são sempre atualizadas, com a criação de novas obras, logo, entendemos ser melhor, trabalhar casos específicos para ter uma ideia mais clara sobre o relacionamento de ambas. A estética é um dos pontos a considerar, perante um produto atraente e acabado, sobretudo se tivermos um ‘julgamento’, positivo ou negativo, da ‘moda como forma de arte’. Do passado ao presente, arte e moda inspiraram-se mutuamente obtendo benefícios recíprocos apesar da moda, durante décadas, ter sido, apenas, olhada como uma frivolidade ou uma vaidade feminina.
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Books on the topic "Sonya Delaunay"

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Molinari, Danielle. R. Delaunay/Sonia Delaunay. Paris: Nouvelles Editions Francaises, 1987.

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Manuel Barbié Galería de Arte, ed. Sonia & Robert Delaunay. Barcelona, Spain]: Manuel Barbié Galería de Arte, 2006.

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illustrator, Delaunay Sonia, ed. Madame Sonia Delaunay. London: Tate Publishing, 2014.

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Kuthy, Sandor. Sonia & Robert Delaunay: Künstlerpaare, Künstlerfreunde = Sonia & Robert Delaunay : dialogues d'artistes, résonances. Stuttgart: Gerd Hatje, 1991.

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Desanti, Dominique. Sonia Delaunay, magique magicienne. Paris: Ramsay, 1988.

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Seibu Hyakkaten. Ikebukuroten. Za Kontenporarī Āto Gyararī. Sonia Dorōnē: Rizumu to shikisai = Sonia Delaunay. Tōkyō: Seibu Hyakkaten, 1987.

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Sonia Delaunay: Fashion and fabrics. New York: H.N. Abrams, 1991.

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Sonia, Delaunay, ed. Sonia Delaunay: Fashion and fabrics. New York: Thames and Hudson, 1997.

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Sonia Delaunay: La vie magnifique. Paris: Tallandier, 2019.

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Sonia, Delaunay, ed. Sonia Delaunay: Fashion and fabrics. London: Thames and Hudson, 1991.

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Book chapters on the topic "Sonya Delaunay"

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James-Chakraborty, Kathleen. "Sonia Delaunay: Media or Message?" In Iteration, 105–20. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429402166-5.

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"Bâtisseuse de ponts : Sonia Delaunay et l’Allemagne." In Le Pont des Arts, 179–204. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760741_019.

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"Fashioning New Women: Sonia Delaunay and Cléopâtre." In Modernism on Stage, 129–66. Routledge, 2017. http://dx.doi.org/10.4324/9781315091082-4.

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Churkina, Victoria. "«WE’RE GOING TO THE SUN» SARAH SHTERN (SONIA DELAUNAY)." In Development of modern science: the experience of European countries and prospects for Ukraine. Publishing House “Baltija Publishing”, 2019. http://dx.doi.org/10.30525/978-9934-571-78-7_64.

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"Von der Leinwand zum Körper Die Kleiderentwürfe von Sonia Delaunay." In RaumKleider, 79–98. transcript-Verlag, 2018. http://dx.doi.org/10.14361/9783839436257-005.

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James-Chakraborty, Kathleen. "Von der Leinwand zum Körper Die Kleiderentwürfe von Sonia Delaunay." In RaumKleider, 79–98. transcript Verlag, 2018. http://dx.doi.org/10.1515/9783839436257-005.

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Albert, Mechthild. "Apollinaire et la mode simultanée : Sonia Delaunay entre Paris et Madrid." In Apollinaire à travers l'Europe. Warsaw University Press, 2015. http://dx.doi.org/10.31338/uw.9788323519157.pp.113-125.

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"Five. High Decoration: Sonia Delaunay, Blaise Cendrars, and the Poem as Fashion Design." In Poetry at Stake, 114–40. Princeton University Press, 2000. http://dx.doi.org/10.1515/9780691227542-008.

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Torrigiani, Maria Grazia Vassallo. "Using contents from a sewing box: some aspects of the artwork of Sonia Delaunay and Louise Bourgeois." In Women and Creativity, 197–212. Routledge, 2018. http://dx.doi.org/10.4324/9780429485176-16.

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