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Journal articles on the topic 'Sonya Delaunay'

Author: Grafiati

Published: 9 March 2023

Last updated: 31 July 2025

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1

Moyse Ferreira, Lucy. "Colour, movement and modernity in Sonia Delaunay’s (1926) fashion film." Journal of Visual Culture 19, no. 3 (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 str

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2

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

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3

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 (2018): 483. http://dx.doi.org/10.21501/23461780.3030.

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5

Andraş, Sonia. "Fashioning simultaneous migrations: Sonia Delaunay and inter-war Romanian connections." Critical Studies in Fashion & Beauty 13, no. 2 (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, focusin

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6

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

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7

Vasiliev, Alexandre. "Sonia Delaunay and Simultanism." Experiment 22, no. 1 (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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8

Satonobu, Spirig Kuniko. "PORTRAIT PHOTOGRAPHIQUE SIMULTANÉ. NELL WALDEN, SONIA DELAUNAY ET PAUL KLEE." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien, ISSN 2297-6809 13 (April 6, 2023): 107–13. https://doi.org/10.5281/zenodo.7806044.

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The photo of Nell Walden wearing a scarf designed by Sonia Delaunay harks back to a question explored in my doctoral thesis on Sonia’s work: where did the geometric shapes she used (e.g. circle, semicircle, rectangle, L shape) come from? How did she use them in her applied art and her abstract paintings? Sonia’s work is closely linked to the female body. Not because she created articles of clothing to be worn on the body, but because she transformed the parts of the female body into geometric forms, such as circles and semicircles for breasts or bellies. Then she uses these geometr

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9

Ward, Tara. "Pure Painting and Mottled Colour." Excursions Journal 4, no. 2 (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

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10

Gronberg, Tag. "Sonia Delaunay: Fashioning the Modern Woman." Women: A Cultural Review 13, no. 3 (2002): 272–88. http://dx.doi.org/10.1080/0957404022000026423.

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11

NAGACEVSCHI JOSAN, Erica. "Los colores órficos de Sonia Delaunay." Çédille, no. 23 (2023): 489–94. http://dx.doi.org/10.25145/j.cedille.2023.23.29.

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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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13

Carelli, Francesco. "Sonia delaunay: a life in theavant-garde." London Journal of Primary Care 8, no. 4 (2016): 72–74. http://dx.doi.org/10.1080/17571472.2016.1204009.

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14

Majer, Michele. "Color Moves: Art and Fashion by Sonia Delaunay." Design and Culture 5, no. 1 (2013): 119–23. http://dx.doi.org/10.2752/175470813x13491105785749.

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Al-Qahtani, Shahd, and Nermeen Abdelrahman. "Modern designs inspired by Sonia Delaunay`s art." International Design Journal 10, no. 2 (2020): 215–26. http://dx.doi.org/10.21608/idj.2020.81101.

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16

Bellow, Juliet. "FashioningCléopâtre: Sonia Delaunay's New Woman." Art Journal 68, no. 2 (2009): 6–25. http://dx.doi.org/10.1080/00043249.2009.10791343.

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17

López Fernández Cao, Marián FDZ. "Sonia Terk-Delaunay, o cómo morir dos veces. El reconocimiento como categoría de análisis para la reconstrucción histórica de la vida de las mujeres." Arenal. Revista de historia de las mujeres 28, no. 1 (2021): 179–202. http://dx.doi.org/10.30827/arenal.v28i1.7794.

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El canon androcéntrico en la Historia del Arte es analizado en este artículo, utilizando el ejemplo de la artista Sonia Terk, su relación con el también artista Robert Delaunay, así como su legado (escritos y obra plástica). Basado fundamentalmente en las fuentes primarias del diario de Sonia Terk Delaunay y en textos escritos por artistas y críticos del entorno, el texto adopta una perspectiva sistémica, desde los estudios sobre creatividad, la teoría del punto de vista feminista y el paradigma del reconocimiento de Nancy Fraser. Usando el estudio de caso de la vida de Sonia Terk, el artículo

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Ocón González, Maria Eugenia. "Waleria Dorogova y Laura Microulis (eds.) Sonia Delaunay: Living art." Papeles de Cultura Contemporánea Hum736, no. 27 (July 4, 2025): 351–56. https://doi.org/10.30827/pcc.27.2024.34389.

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Mínguez García, Hortensia. "La mujer en el arte y el diseño del pasado siglo. Tres visiones, tres mujeres: Mary Cassatt, Louise Nevelson y Sonia Delaunay." H+D HÁBITAT MÁS DISEÑO, no. 8 (2012): 23–32. http://dx.doi.org/10.58493/habitat.2012.08.03.

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El presente texto realiza un breve acercamiento a las principales aportaciones de tres de las mujeres más representativas en las últimas centurias respecto al arte gráfico y el diseño, tomando como casos de estudio a Mary Cassattt (1844-1926) como primera generación, y dentro de una segunda generación, a la escultora Louise Nevelson, (1899-1988) y a la diseñadora y artista, Sonia Delaunay (1885-1979).

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20

Rappe, Felicia. "« L’œil danse » : décors et costumes de Robert et Sonia Delaunay pour Cléopâtre." Histoire de l'art 58, no. 1 (2006): 105–14. http://dx.doi.org/10.3406/hista.2006.3138.

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21

Godefroy, Cécile. "Images simultanées : les photographies de mode de Germaine Krull commandées par Sonia Delaunay." Histoire de l'art 48, no. 1 (2001): 99–113. http://dx.doi.org/10.3406/hista.2001.2929.

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22

ŞAHİN, Yüksel. "SONIA DELAUNAYIN MODA İLLÜSTRASYONLARI ÖRNEĞİNDE SANAT VE MODA ETKİLEŞİMİ." Journal of Academic Social Sciences 72, no. 72 (2018): 1. http://dx.doi.org/10.16992/asos.13854.

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23

Méndez Baiges, Maite, and Inmaculada Hurtado Suárez. "La alianza de arte y poesía en las vanguardias: los vestidos-poema de Sonia Delaunay." Anales de Historia del Arte 28 (September 25, 2018): 201–24. http://dx.doi.org/10.5209/anha.61612.

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Este artículo presenta un estudio y análisis detallados de los vestidos-poema (robespoèmes) de Sonia Delaunay (1922-1923), un claro ejemplo de creación vanguardista basada en la síntesis de pintura y poesía. Se proporciona una recopilación de estos vestidos poemáticos, así como la transcripción y autoría de los poemas incluidos en ellos. A lo largo del artículo se analizan los vestidos-poema desde una perspectiva de género. Se vinculan, así, a una noción del arte de vanguardia comprometida con la idea de la fusión de arte y praxis vital; y se calibra, en consecuencia,el papel desempeñado en es

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24

Albritton, Ann. "“She Has a Body on Her Dress”: Sonia Delaunay-Terk's First Simultaneous Dress, 1913." Dress 32, no. 1 (2005): 3–13. http://dx.doi.org/10.1179/036121105805253062.

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25

Okuda, Osamu, Walther Fuchs, and Tschirren Marianne Keller. "Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien No. 13 (Editorial)." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien, ISSN 2297-6809 13 (April 6, 2023): 2–5. https://doi.org/10.5281/zenodo.7821546.

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<strong>VORWORT</strong> Liebe Leserinnen und Leser, wir freuen uns, Ihnen die brandneue Ausgabe Nr. 13 der <em>Zwitscher-Maschine</em> vorzustellen. In dieser Ausgabe finden Sie eine Vielzahl faszinierender Artikel über Paul Klee und die Rezeption seines Werks. Die Ausgabe entstand in Zusammenarbeit von Autorinnen und Autoren aus der internationalen Klee-Forschergemeinschaft. Die Deterritorialisierung, ein Konzept von Deleuze und Guattari, bietet eine alternative Perspektive auf Kunst und Kreativität, indem sie die hierarchischen Strukturen und begrenzenden Beziehungen hinterfragt,

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26

أحمد, رانيا سعد محمد أحمد, та هالة محمد مصطفي سليمان. "مفردات البناء التشکيلي لمختارات من أعمال روبرت وسونيا ديلوني Robert & Sonia Delaunay”" کمصدر لاستلهام تصميمات أزياء النساء". المجلة العلمية لکلية التربية النوعية - جامعة المنوفية 6, № 1 (2019): 333–62. http://dx.doi.org/10.21608/molag.2019.153228.

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27

Garre Sánchez, Cristina. "Análisis del color en las creaciones de moda desde la expresión artística." ASRI. Arte y Sociedad. Revista de Investigación en Artes y Humanidad digitales., no. 24 (December 31, 2023): 1–14. http://dx.doi.org/10.33732/asri.6397.

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El presente texto nace en el contexto de una investigación sobre la creación audiovisual denominada fashion film. El principal objetivo es poner de manifiesto el uso de tecnologías propias de la creación de imagen estática y en movimiento como medio de expresión artística por parte de artistas que realizan piezas audiovisuales relacionadas con la moda y, en concreto, con el fashion film. Desde la perspectiva del medio audiovisual como forma de expresión artística, se plantea un análisis de las creaciones audiovisuales L’Elélégance (sic) de Sonia Delaunay (1925) y Esencia de una seducción de Eu

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28

Rodríguez Roldán, Rocío. "Florecimiento vanguardista y mujeres modernas: artistas extranjeras en España entre 1914 y 1936. Los casos prácticos de Sonia Delaunay y Norah Borges." Mujer y Políticas Públicas 3, no. 1 (2024): 191–243. http://dx.doi.org/10.31381/mpp.v3i1.6668.

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El presente estudio se centra en el análisis y la puesta en valor de las estancias de mujeres artistas extranjeras en España entre 1914 y 1936, un fenómeno conocido en la historiografía artística española en el que, hasta este momento, únicamente los creadores varones han sido valorados, atribuyéndoseles a ellos de forma exclusiva un proceso de modernización del panorama cultural español en el que las artistas también tuvieron un papel activo. Así, nuestra investigación nace de la necesidad de analizar el impacto de las artistas en el susodicho fenómeno y en la sociedad española del momento, e

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29

Peng, Li Hsun, Chia Hsin Hsueh, and Jeng Jia Lou. "Analytical Research on Sign and Symbol of Two Avant-Garde Women Designers’ Works." Applied Mechanics and Materials 311 (February 2013): 269–74. http://dx.doi.org/10.4028/www.scientific.net/amm.311.269.

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We live in a visually intensive society. Visual symbols are one of the most important keys to communication in the design field. Usually, the symbolic meaning of artwork is closely related to its historical background, culture, socio-political environment and economic constructions. This study aimed to investigate two women designers in the Avant-Garde era, which applied cultural hybridity to their art works and managed to stand out in their field, which was dominated by male designers. We will take Clarice Cliff and Sonia Delaunay as the core cases to analyze and collaborate. As we know, thes

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Kim, Yiseul, and Shinmi Park. "A Study on the Characteristics of Pythagorean’s Theological Mathematics Appeared in Fashion Design in the 1920s - Focusing on the Works of Jean Patou, Jeanne Lanvin, Madeleine Vionnet, and Sonia Delaunay -." Journal of the Korean Society of Costume 72, no. 4 (2022): 48–69. http://dx.doi.org/10.7233/jksc.2022.72.4.048.

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Eggelhöfer, Fabienne. "Hans Hofmann und Paul Klee - Eine Wahlverwandschaft." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien 4, Autumn (2017): 19–26. https://doi.org/10.5281/zenodo.1037445.

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Paul Klee and Hans Hofmann were two artists with similar backgrounds-and, not coincidentally-who had the same approach to making art. Hofmann and Klee both knew Wassily Kandinsky, Gabriele Münter, Sonia and Robert Delaunay, and were in Munich and Paris at the same time. Although they did not believe that art could be taught, they delivered lectures on pictorial configuration. Both resisted explaining and theorizing art and instead focused on compositional methods. To them, the act of generating form was more interesting than the result thereof; the interplay and tension between opposites insti

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Eggelhöfer, Fabienne. "Hans Hofmann und Paul Klee - Eine Wahlverwandschaft." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien 4, Autumn (2017): 19–26. https://doi.org/10.5281/zenodo.1069596.

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<strong>Hans Hofmann and Paul Klee - An Artistic Affinity</strong> Paul Klee and Hans Hofmann were two artists with similar backgrounds-and, not coincidentally-who had the same approach to making art. Hofmann and Klee both knew Wassily Kandinsky, Gabriele Münter, Sonia and Robert Delaunay, and were in Munich and Paris at the same time. Although they did not believe that art could be taught, they delivered lectures on pictorial configuration. Both resisted explaining and theorizing art and instead focused on compositional methods. To them, the act of generating form was more interesting than th

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Okuda, Osamu, Marianne Keller-Tschirren, and Walther Fuchs. "Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien No. 13 (Inhaltsverzeichnis)." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien, ISSN 2297-6809 13 (April 6, 2023): 1. https://doi.org/10.5281/zenodo.7805902.

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<strong>VORWORT</strong> Herausgeber <strong>ARTIKEL</strong> Jerry Garcia’s Tribute to Paul Klee’s Twittering-Machine <strong>Dennis Rothermel        </strong>                                                                                              Paul Klees »Zwitscher-Maschine« und die Zeichen – über t

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Okuda, Osamu, Walther Fuchs, and Tschirren Marianne Keller. "Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien No. 13 (Impressum)." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien, ISSN 2297-6809 13 (April 6, 2023): 134. https://doi.org/10.5281/zenodo.7806122.

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IMPRESSUM ZM13   <strong>Herausgeber</strong> Dr. Marianne Keller Tschirren, Zentrum Paul Klee, Bern Osamu Okuda, Zentrum Paul Klee, Bern Dr. Walther Fuchs, Digiboo, Küsnacht <strong>Redaktion</strong> Die Zwitscher-Maschine  c/o Zentrum Paul Klee Postfach, 3001 Bern <strong>Review / Lektorat / Bildredaktion</strong> Kai-Inga Dost, Zentrum Paul Klee, Bern Katrin Keller, Zentrum Paul Klee, Bern Osamu Okuda, Zentrum Paul Klee, Bern Dr. Walther Fuchs, Digiboo, Küsnacht Dr. Marianne Keller Tschirren, Zentrum Paul Klee, Bern <strong>Layout PDF</strong> Hitomi Murai, Zürich,

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Okuda, Osamu, Walther Fuchs, and Tschirren Marianne Keller. "Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien No. 13 (Autorinnen und Autoren)." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien, ISSN 2297-6809 13 (April 6, 2023): 132–33. https://doi.org/10.5281/zenodo.7806092.

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AUTORINNEN UND AUTOREN <strong>Rudolf Altrichter</strong> ist Philosoph und lebt als freier Schriftsteller in der Schweiz. Letzte Veröffentlichungen: <em>Spiegelungen. Traktat über die Liebe</em> (2016), »Das Mysterium der Moderne. Über das Geheimnis als Betriebsgeheimnis der Kunst im Werk von Paul Klee«, in: <em>Zwitscher-Maschine</em>, Nr. 3 (2017), <em>Versuch über das Wirkliche</em> (2018), <em>Ü ber das Opfer</em> (2019), <em>Metaphysisch denken</em> (2020), <em>Betrachtungen</em> (2021),  <em>Ü ber den Anlass</em> (Neudruck 2022), <em>Philos

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Green, Cara Marie. "Sonia Delaunay: Living Art." Dress, August 29, 2024, 1–5. http://dx.doi.org/10.1080/03612112.2024.2383112.

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"Sonia Delaunay: fashion and fabrics." Choice Reviews Online 29, no. 01 (1991): 29–0075. http://dx.doi.org/10.5860/choice.29-0075.

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Martínez-Oña, M. Mar. "Mujeres diseñadoras: Sonia Delaunay (1885-1979)." Cuadernos del Centro de Estudios de Diseño y Comunicación, no. 251 (February 19, 2025). https://doi.org/10.18682/cdc.vi251.12116.

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"Sonia Delaunay: artist of the lost generation." Choice Reviews Online 27, no. 08 (1990): 27–4319. http://dx.doi.org/10.5860/choice.27-4319.

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"Sonia Delaunay: the life of an artist." Choice Reviews Online 33, no. 04 (1995): 33–1928. http://dx.doi.org/10.5860/choice.33-1928.

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"Color moves: art & fashion by Sonia Delaunay." Choice Reviews Online 49, no. 09 (2012): 49–4850. http://dx.doi.org/10.5860/choice.49-4850.

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"Issue Information." Ethics & Human Research 46, no. 5 (2024): 1. http://dx.doi.org/10.1002/eahr.500225.

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Fuchs, Walther, and Osamu Okuda. "Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien No. 13 (Cover)." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien, ISSN 2297-6809 13 (April 6, 2023). https://doi.org/10.5281/zenodo.7805883.

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<strong>Umschlagbild</strong> Nell Walden-Heimann trägt einen Folulard von Sonia Delaunay, ca. 1927, Foto: Wanda von Debschitz-Kunowski, Bibliothèque nationale de France, OA-887 (7)-PET FOL, Godefroy Cécile, n°341  ©  Bibliothèque nationale de France 

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Valadas das Neves, Sérgio Manuel. "ORFISMO ENTRE A RELIGIÃO E A ARTE." Quintana: revista do Departamento de Historia da Arte, no. 20 (December 31, 2021). http://dx.doi.org/10.15304/quintana.20.6502.

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Este artículo tiene como objetivo reflexionar sobre el orfismo en sus dos concepciones, religiosa y artística, y en sus tres significados: el mito de Orfeo; el culto órfico; y el movimiento artístico, el orfismo, del siglo XX. Esta investigación no buscará describir en detalle el culto órfico y el movimiento artístico, sino buscar las razones que llevaron a Guillaume Apollinaire a llamar a esta rama del orfismo cubista, y presentar algunas hipótesis que conducen a una exploración más profunda del tema. Para establecer estas relaciones, se utiliza principalmente la investigación sobre las antig

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45

Levasseur, Cassandra. "Julie Verlaine, Les Héritières de l’art abstrait : Sonia Delaunay, Nina Kandinsky, Nelly van Doesburg et les autres." Critique d’art, 2025. https://doi.org/10.4000/142jo.

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Rodrigo Villena, Isabel. "Mujeres artistas e imagen femenina en Alfar, revista coruñesa de vanguardia (1922-1926)." Quintana: revista do Departamento de Historia da Arte, no. 18 (December 30, 2019). http://dx.doi.org/10.15304/qui.18.4438.

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La revista de vanguardia Alfar, dirigida en La Coruña por Julio J. Casal entre 1923 y 1926, realizó una inusual proyección de la creación femenina, difundiendo la obra de poetas, novelistas, compositoras, pintoras y escultoras, en un número irrisorio, pero proporcionalmente superior al de la mayoría de las publicaciones de su tiempo y estilo. Este artículo presenta a las seis artistas plásticas que pasaron por sus páginas: Norah Borges, Sonia Delaunay, Angelina Beloff, Aida Uribe, Laura Olmos y Laura Rodig. Las sitúa en los dos momentos estéticos de la revista: el ultraísmo inicial y el llamad

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"Sonia Delaunay, « Les Couleurs de l’abstraction », Paris, Musée d’art moderne de la Ville de Paris, 27 novembre 2014 — 22 février 2015 (Catalogue : Sonia Delaunay – Les couleurs de l’abstraction , Paris, éditions Paris-Musées, 2014, 288 p.) ; Robert Delaunay, « Rythmes sans fin », Paris, Centre Pompidou, 15 octobre 2014 — 12 janvier 2015 (Catalogue : Robert Delaunay – Rythmes sans fin (Angela Lampe, Dir.), Paris, éditions du Centre Pompidou, 2014, 144 p.)." Aden N° 14, no. 1 (2015): LIX. http://dx.doi.org/10.3917/aden.014.0225bg.

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