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拍品 263
Sonia Delaunay (1884-1979)
Projet de décor pour les quatre saisons (Printemps, Eté, Automne, Hiver)
已结束2013年2月7日
成交价
GBP 229,250
更多信息
专家说明
Richard Riss has confirmed the authenticity of this work.
According to Riss, 'Sonia Delaunay developed the designs for the ballet The Four Seasonswith the choreographer Léonide Massine in 1928. At the time, Massine, as choreographer for the Roxy Theater in New York, was also working with her husband, Robert Delaunay, on designs for the ballet Triomphe de Paris. Although the Four Seasons ballet was never realised, the project did give birth to this series of beautiful and vividly coloured compositions.
'The Delaunays' artistic process consisted of integrating art into every aspect of modern life. This came to include the ballet after they met Serge de Diaghilev and his Ballet russe troupe, including Massine, in Madrid in 1918.
Diaghilev's modern conception of ballet appealed to the couple and they immediately found common ground, with Robert Delaunay designing the set for Diaghilev's ballet Clopâtre in London the following year. The most important development in their work from this period was the use of colour as a dramatic element' (in a letter dated 18 December 2012).
According to Riss, 'Sonia Delaunay developed the designs for the ballet The Four Seasonswith the choreographer Léonide Massine in 1928. At the time, Massine, as choreographer for the Roxy Theater in New York, was also working with her husband, Robert Delaunay, on designs for the ballet Triomphe de Paris. Although the Four Seasons ballet was never realised, the project did give birth to this series of beautiful and vividly coloured compositions.
'The Delaunays' artistic process consisted of integrating art into every aspect of modern life. This came to include the ballet after they met Serge de Diaghilev and his Ballet russe troupe, including Massine, in Madrid in 1918.
Diaghilev's modern conception of ballet appealed to the couple and they immediately found common ground, with Robert Delaunay designing the set for Diaghilev's ballet Clopâtre in London the following year. The most important development in their work from this period was the use of colour as a dramatic element' (in a letter dated 18 December 2012).