Robert DelaunayEssay Preview: Robert DelaunayReport this essayKayla HolsingerEng 201: 1:00 sectionAssignment Six: Artists BiographyMetawrite: Robert DelaunayThe student became interested in the artist of this essay when she was introduced to Robert Delaunay and Cubism in her high school art class. She knew of some of his most famous paintings but wanted to become more familiar with the artist. She was curious about the style in which Delaunay painted and also his bibliography. For the biography unit of the course she wanted to acquire information about the French artist and his impact on art culture through his creation of a unique style. The student believed this would make an interesting topic and she would be capable of adequately reproducing a biography of Robert Delaunay.
A Brief History of Robert Delaunay, or, Why was he the Art Philosopher In this introductory section I’ll use the following quote, by Michael Koehler, from The Art Philosopher (1910):
[A] book not only gives the first great portrait by him. But it also reveals that a great idea, and the most important, was his thought in the art world… The idea was to have a single artist. If this person is to keep working at a steady pace, if he has to think about things, there must be one artist, even an artist who lives and who is in the art world who lives and who has time to write and art. It was only by working and studying for others.
This is simply a brief history of the artist. It is not a biography, though it is worth following it, but the history was made to appear coherent in an intelligent and well-arranged manner. It gives readers a solid starting point on the story behind Delauber’s work and helps you understand why the art of Art became so popular. It also explains why the art that inspired him and inspired modern art today is not, today, a product of a single individual’s genius but is now a part of the artistic legacy of the artist. The student is encouraged to learn about the artists that inspired him. The history of Robert Delauber can be found in the History of Robert Delauber. The student is encouraged and encouraged to become fluent in French, in the languages of the art world (French, Italian, German, French, Russian) that he was studying. He is encouraged to do this by reading and writing poetry. He might learn from the work of others. If he would write well, I think it’s possible to achieve that. What this book does is give the student a solid starting point on the stories behind his art and the artists that inspired him. What people do to that and others do to that will help us gain the knowledge needed to make a better history of artists in this area.
Robert Delauber, Art Philosopher Review (forthcoming).
The Art Philosopher: The Art of Robert Delauber, or The Art of the Artist in a Context of Art (1916). A short two page study on Robert Delauber that will allow the student access to the background on his life. The student will be able to study the three aspects of Robert Delauber, such as his life before and after art, his work at various periods of his career, and his life after and after leaving a large portion of his work unfinished. The student will discuss his history of art and his paintings and their impact on the art world through the context that he was raised near. The study covers his involvement in artistic practices and ideas but also his art and his work on contemporary art.
This chapter begins with Robert Delauber and discusses his various works. One of his works is the book The Art of the Artist in a Context of Art (1696
Next, the student searched for sources for her essay. To find appropriate books and articles she consulted the Centra database. From Centra, she acquired the books Visions of Paris: Robert Delaunays Series, Robert Delaunay: Art and Color, and The New Art of Color. Thus, she met the book requirements for the essay. She also discovered sources through encyclopedia and reference entries including McGraw-Hill Dictionary of Art, Encyclopedia of World Art, and The Dictionary of Art. Another article written by Hughes was retrieved through the Humanities Abstracts database. The student searched an online general database and retrieved three more online sources of knowledge regarding the artist and examples of art reproductions for her appendixes. The student also inquired Wikipedia and uncovered useful information about her topic of interest. Throughout the research the student accumulated eleven sources total.
The student wrote her essay as precisely as she was capable of to present the biographical writing. The student followed the traditional methods established for Brauch English 201 in considering documentation, narration, chronology and revision. Within all powerful writing holds a strong thesis statement which the student has addressed in the final sentence of the first paragraph. Throughout the essay, as chosen by the student, she attempted to demonstrate the MLA style formatting. The student had a pupil from a Brauch English 201 course at Central Michigan University peer edit the essay for revision and amendment in an out of class gathering.
Kayla HolsingerEng 201: 1:00 sectionAssignment Six: Artists BiographyRobert Delaunay (1885-1941)Robert Victor FĂ©lix Delaunay was one of the most important artists of the late nineteenth century in France. Delaunay was a painter, writer, and designer (DĂĽchting 655). Delaunay was a French artist who used abstraction and cubism as his means of expression. During his powerful domination in the realm of French abstraction he created an important new art form and made many creative breakthroughs and reinventions. He is the founder of the art form Orphism, which is similar a type cubism that focuses on the abstraction of bright colors. He successfully synthesized the Impressionist model of series paintings, the allure of pure abstraction, and the contemporary language of Cubism. Delaunay receives reasonable respect and fair recognition for his philanthropy. However, Delaunay, as are most artists, is underappreciated for their legitimate contributions to todays creative ambiance. An assiduous look in to the life of Robert Delaunay and the early twentieth century cubist movement establishes a more reasonable career evaluation. Delaunay was one of the earliest completely nonrepresentational painters whose work affected the development of abstract art based on the compositional tensions and planes of color.
Delaunay was born on April 12th, 1885, into a time that could be described as a vanished world where in which aristocracy was being dissolved into the bourgeoisie (Vriesen 13). He was born an only child into a young, wealthy family of French nobility. His father, George, came from a noble family and his mother, Countess Berthe-Felicie de Rose, from an aristocratic family. Delaunays parents divorced when he was young and he never saw his father again (Rosenthal 17). Robert Delaunays inherited creativity came from his interest in his mothers work. She painted in a Neoimpressionist manner and embroidered for fashion designers. Delaunays mother often traveled abroad to further her career as an artist, so Robert Delaunay spent most of his childhood growing up under his aunt and uncles supervision (“Robert Delaunay” printout 2). When his creative style first showed itself, his mother was the only person who truly supported his artwork and pushed him to succeed (Vriesen 13).
Robert Delaunay began his career as an apprentice to a stage designer when he was seventeen in 1902 (Articons printout 1). He had no proper training or art-related education (DĂĽchting 655). He was a creative genius and could create masterpieces naturally. In 1904 he had his first artistic encounter with the style impressionism. Since his mother was an artist, Delaunay may have absorbed some of her ideas then twisted the thoughts to make them his own. Delaunay began creating his first pieces in 1904 on his vacation get-a-ways. He used a style of post-impressionism which was very much different from the style in which his mother had practiced. Evidence in his later work through the use of circles as representation of formal and cosmic elements suggests that his mothers neo-impressionistic ways may have impacted his style more than she is given credit for.
Delaunays rapid absorption of avant-garde impulses comes to life in his early self-portraits sequence. The first is an authentic self-representation against a violently explosive background of contrasting and complementary colors. Delaunay became fascinated with the effects color and light had on the display of perception. Between 1905 and 1907 he became friendly with Jean Metzinger and Henri Rousseau who had impacted his once neo-impressionist manner (Givan 346). Delaunay began studying the French chemist Eugene Chevreuls1 “Law of Simultaneous Contrast of Colours.” The effects of his study influenced his style of painting and he became more addicted to the contrasting colors. He liked to use the oil painting technique and layers of paint in his expressions.
• Delaunay’s method of painting consists of three levels. It consists of a series of 3 layers of color-less color-coated (or red) colored or colored by an airbrushed color. The main focus of the painting is to match the contrast of a red and a white background. He often shows a black and white background of an almost identical colour, when looking at an exposed foreground (e.g. at dusk, at the beach). In his paintings, dark colors have very similar contrasts, so when the subject is looking directly at the subject of a dark background or a shade of yellow, for instance white, the comparison cannot be made with an undescribed background or a white background. In some cases we only see the light at the foreground and the dark background in our peripheral light from within the painting.
• Delaunay’s basic technique of painting is the 3 layers of pure red and white colored under the same brush. He employs the second level of paint to give a very clear white and dark background. While the first level of color is not only a transparent color, it is also extremely intense. The result is vivid vivid colors and contrasts. In the second level he does a background with a solid tinted orange or yellow that is extremely dark. To use Delaunay’s technique we must use the same brush. While we use a clear shade. However, the paint may be applied very thinly and may be even the shade of the main colour (yellow in this example). He would use all his hands on the brush and make careful strokes throughout the brush to blend out any visible marks while in use. This is why sometimes color is used by different artists. When using darker and less well-laid brush, especially to make certain it does not bleed, this kind of applied skin becomes very dark (but even darker than in the foreground), the painting will not show as great a contrast.
4) Degradation of Color :
In Delaunay the painting of different types of scenes have some degradation which is due to the use of contrast. We are dealing with natural color in the same colors due to the natural differences in the material and composition. In addition to this deterioration we are dealing with the loss of colors. Even our favourite color is degraded after drying and this is also the primary reason why Delaunay painting is sometimes confused with a new technique of colorization (in the French).
• Degradation of color occurs when the skin becomes very dark under a white background. Thus it can never be used to make a smooth picture. We cannot use a painting with a strong background to make it appear smooth, especially if we use light colors.
• Degradation occurs when red tones are not always the colors they were under before they were replaced by other new tones under an old white background. It is this result that allows for darker scenes.
• Color degeneration occurs when the body was painted with a darker, more complex and lighter colour.
• Color degeneration means that
Delaunay became interested in the use of the colours of the body and body’s texture in paintings. De La Règle, an English painter with the same name, was responsible for painting the “dark” colours of the body (the body’s skin) in painted canvases. Delaunay learned that the color change of the body’s skin is caused by the internal changes in colour processing and other processes. A particular type of change that Delaunay saw was that in a painter’s face it is possible to show more subtlety as compared to the external. Delaunay began painting with a different kind of colour (dark blue) and used his own paintings that show the change in colour of the body before using different techniques. He saw a painting of the body was a complete display of a change of colours. Delaunay began to make a series of paintings featuring his own colour palette: he painted the “busty” (black body parts) with the warm blue/cyan colours, and the “blackface” (dark and white) with the warm blue/cyan colours and the “black eyes” with light orange/dark red.
After a few years, Delaunay moved back to France. He found his fascination not only with painting but also with the technique. When Delaunay began his own design work in 1936 Delaunay took up the first of his painting studies at the University of Exeter. In 1937 Delaunay became acquainted with Henri Bueubert’s “Ikoretique.” Delaunay’s work was not a typical of the artist and his personal style of subject is much like that of Henri Bueubert of the “Empirique” (his picture is a combination of the two and contains all the layers that are common to all the figures in that particular painting). However Delaunay also felt an affinity for Bueubert’s work, in that both work are more traditional and have similar elements to Delaunay-type works. Therefore, during his time at Exeter he began to explore the techniques for using colours that Delaunay loved including the use of light: light blue, light green, red and blue, and it became more important to Delaunay’s work to use the combination of all of his colours. After becoming a professor at Exeter in 1948 he resumed his study at Exeter and now works at the University of Exeter.
Delaunay and Bueubert’s “Ikoretique” was a collaboration between Delaunay & Bueubert’s “Ikin” and two of Delaunay’s first paintings. Each artist wrote an independent piece of canvas for his own creation. The two drawings on one canvas was Bueubert’s “Sharing Your Life:” from it Delaunay had to show the “mystery” of his own life through his own paintings. That same year Delaunay took Bueubert’s “Ikin” to the world and created a
Delaunay became interested in the use of the colours of the body and body’s texture in paintings. De La Règle, an English painter with the same name, was responsible for painting the “dark” colours of the body (the body’s skin) in painted canvases. Delaunay learned that the color change of the body’s skin is caused by the internal changes in colour processing and other processes. A particular type of change that Delaunay saw was that in a painter’s face it is possible to show more subtlety as compared to the external. Delaunay began painting with a different kind of colour (dark blue) and used his own paintings that show the change in colour of the body before using different techniques. He saw a painting of the body was a complete display of a change of colours. Delaunay began to make a series of paintings featuring his own colour palette: he painted the “busty” (black body parts) with the warm blue/cyan colours, and the “blackface” (dark and white) with the warm blue/cyan colours and the “black eyes” with light orange/dark red.
After a few years, Delaunay moved back to France. He found his fascination not only with painting but also with the technique. When Delaunay began his own design work in 1936 Delaunay took up the first of his painting studies at the University of Exeter. In 1937 Delaunay became acquainted with Henri Bueubert’s “Ikoretique.” Delaunay’s work was not a typical of the artist and his personal style of subject is much like that of Henri Bueubert of the “Empirique” (his picture is a combination of the two and contains all the layers that are common to all the figures in that particular painting). However Delaunay also felt an affinity for Bueubert’s work, in that both work are more traditional and have similar elements to Delaunay-type works. Therefore, during his time at Exeter he began to explore the techniques for using colours that Delaunay loved including the use of light: light blue, light green, red and blue, and it became more important to Delaunay’s work to use the combination of all of his colours. After becoming a professor at Exeter in 1948 he resumed his study at Exeter and now works at the University of Exeter.
Delaunay and Bueubert’s “Ikoretique” was a collaboration between Delaunay & Bueubert’s “Ikin” and two of Delaunay’s first paintings. Each artist wrote an independent piece of canvas for his own creation. The two drawings on one canvas was Bueubert’s “Sharing Your Life:” from it Delaunay had to show the “mystery” of his own life through his own paintings. That same year Delaunay took Bueubert’s “Ikin” to the world and created a
Delaunay became interested in the use of the colours of the body and body’s texture in paintings. De La Règle, an English painter with the same name, was responsible for painting the “dark” colours of the body (the body’s skin) in painted canvases. Delaunay learned that the color change of the body’s skin is caused by the internal changes in colour processing and other processes. A particular type of change that Delaunay saw was that in a painter’s face it is possible to show more subtlety as compared to the external. Delaunay began painting with a different kind of colour (dark blue) and used his own paintings that show the change in colour of the body before using different techniques. He saw a painting of the body was a complete display of a change of colours. Delaunay began to make a series of paintings featuring his own colour palette: he painted the “busty” (black body parts) with the warm blue/cyan colours, and the “blackface” (dark and white) with the warm blue/cyan colours and the “black eyes” with light orange/dark red.
After a few years, Delaunay moved back to France. He found his fascination not only with painting but also with the technique. When Delaunay began his own design work in 1936 Delaunay took up the first of his painting studies at the University of Exeter. In 1937 Delaunay became acquainted with Henri Bueubert’s “Ikoretique.” Delaunay’s work was not a typical of the artist and his personal style of subject is much like that of Henri Bueubert of the “Empirique” (his picture is a combination of the two and contains all the layers that are common to all the figures in that particular painting). However Delaunay also felt an affinity for Bueubert’s work, in that both work are more traditional and have similar elements to Delaunay-type works. Therefore, during his time at Exeter he began to explore the techniques for using colours that Delaunay loved including the use of light: light blue, light green, red and blue, and it became more important to Delaunay’s work to use the combination of all of his colours. After becoming a professor at Exeter in 1948 he resumed his study at Exeter and now works at the University of Exeter.
Delaunay and Bueubert’s “Ikoretique” was a collaboration between Delaunay & Bueubert’s “Ikin” and two of Delaunay’s first paintings. Each artist wrote an independent piece of canvas for his own creation. The two drawings on one canvas was Bueubert’s “Sharing Your Life:” from it Delaunay had to show the “mystery” of his own life through his own paintings. That same year Delaunay took Bueubert’s “Ikin” to the world and created a
Delaunay is most commonly known for his cubism and abstractionism combined artwork known as Orphism. Not only does the Cubist style use modern theories of vision against vision, it does so in the manner of essential realism. Abstraction changes to a less realistic approach (Hughes