For more than a century, successive radical movements have dedicated themselves to blending art with everyday life. From Dadaists to Bauhaus followers, Russian Constructivists to De Stijl minimalists, Italian Futurists to Fluxus polymaths, and hip-hop fashion icons — all have worked to dismantle barriers between objects and experiences, the sophisticated and the commonplace.
However, the remarkable Sonia Delaunay stands out as the most enduring and accomplished in this pursuit. She famously declared, “I have lived my art,” and a stunning new exhibition at the Bard Graduate Center in New York vividly illustrates how she embodied this ethos: with unwavering passion and pride. Throughout the 20th century, Delaunay delved into furniture design, textiles, theater costumes, fashion, paintings, mosaics, and even her own persona, infusing them all with vibrant, kaleidoscopic colors. “Colour is the skin of the world,” she boldly proclaimed.
Featuring over 200 pieces, Sonia Delaunay: Living Art exudes both vibrancy and substance. Embracing simultaneity, a concept she defined as the fusion of diverse textures and colors, Delaunay’s work habits mirrored this dynamic approach.
A striking example is the “Simultaneous Dress” from 1913, a riot of funky patchwork that she meticulously crafted herself. When displayed on a wall, it could easily be mistaken for an abstract painting. However, Delaunay’s original intention was for the dress to be worn while dancing the tango at the lively Salle Bullier in Montparnasse. This immersive experience was immortalized by her friend, the writer Blaise Cendrars, in the poem “On Her Dress She Has a Body”.
Collaborating closely, Delaunay and Cendrars created what they termed “the first simultaneous book,” featuring 22 panels of text and illustrations that could be folded or extended into a seven-foot column. One look at the fully expanded “La prose du Transsibérien et de la Petite Jehanne de France” reveals a burst of colorful delight, narrating a surreal journey from Moscow to Paris via various exotic locales. Delaunay’s rich forms cascade down one side, while colored text dances across the other, mirroring the cadence of a voyage. This piece never fails to captivate with its joyful beauty.
Born in Ukraine in 1885 as Sara Stern, Delaunay experienced a swift rise in social status from her humble Jewish upbringing. By the age of five, she was living with her uncle in St. Petersburg, where she was raised in affluent circles. Her diverse education took her to Finland, art school in Karlsruhe, and proficiency in multiple languages.
Upon settling in Paris at 21, she entered a marriage of convenience with the art dealer Wilhelm Uhde, which allowed her to remain in the city. It was during this time that she met Robert Delaunay, whom she quickly fell in love with and married after a whirlwind romance. Their artistic partnership flourished, culminating in commissions for the Ballets Russes and a foray into fashion and design in Madrid and Paris.
Despite facing personal and professional challenges, including the overshadowing of her work by her husband’s acclaim, Delaunay persisted in her creative pursuits. Following Robert’s passing in 1941, she dedicated herself to promoting his legacy before experiencing a resurgence of her own artistic endeavors.
In her later years, Delaunay’s innovative tapestries and vibrant designs regained prominence, culminating in a newfound appreciation for her groundbreaking geometric clothing designs from the 1920s. Her visionary approach to collapsing boundaries between art forms and her enduring influence on fashion and design solidified her place as a pioneering artist. Delaunay passed away in 1979 at the age of 94, leaving behind a legacy ripe for rediscovery and continued admiration.