A study and toast to Orphism

 

By Lynne Seitzer

Last fall, I had the good fortune to see the Guggenheim’s “Orphism” exhibit. My knowledge of the term Orphism was very limited. As I progressed through six upward spiraling floors and all 90 works of art, it was clear that this period of art left a very distinct mark on color harmony and color contrast. An historic touchstone for me was the impact of Orphism on the mod and pop designs of the seventies. As a child of that era, I recognized its influences on album covers, mini skirts, and ‘cool’ typeface fonts. And in addition to that, it was just plain fun.

A few weeks later, back in our studio, I began to play with paint and my recollections from that day in the museum. I created small versions of some of my favorite pieces. Then I placed the viewers into the painting. First as a small study then a larger piece with more audience. Both paintings  relating to my direct experience of the art of Orphism.

Orphism is an art movement (circa 1910-1914) which is considered the connective element between Cubism and Pure Abstraction. The term was coined by a French poet Apollinaire around 1912. It was named for the Greek god Orpheus. (Orpheus entered into the realm of the underworld to reclaim his beloved Eurydice.)

It is said that Orphism artists embarked on a metaphysical quest to uncover the mysteries beneath the surface of reality.

The art of this period focused on bright colors and pure abstraction. Central figures of the movement were Sonia Delauney and Robert Delauney. Both were heavily influenced by the wild brushwork of Fauvism. (The Fauves, led by Matisse and Derain, emphasized the use of painterly effects with very strong colors.)

Orphism was distinguished by it’s rhythmic patterns and visual harmony. There is a  sense of light emanating from these  paintings possibly due to the use of Chevreuil’s color theory claim that the manipulation of color can produce light on the canvas and color juxtaposition.

Sonia Delauney applied the principles of Orphism not just to her luminous paintings but to  elevated textiles, book and theater designs. She illustrated Blaise Cendrars’ poem “La prose du Transsibérien” with a unique accordion-pleated book design, merging text and visual art. Her influence extends into the world of design even today.

Robert Delauney’s innovative approach to abstraction, also referred to as “Simultanism,” is a testament to his unique ability to capture the dynamic interplay of  light, space, and emotion. The luminous color and Orphic style also had an immediate influence on the work of The Blue Rider Expressionist painters.

The impact of this somewhat little known period of art history continues to influence and inspire many aspects of art, our life and culture.

On Oct. 3, we will be toasting the influence of Orphism in art and daily life with an afternoon open house. On view will be my two paintings celebrating this period and we invite you to find the connections to

Orphism throughout the gallery.

This will be in conjunction with the final First Friday of the 2025 season.

Joy To The Wind Gallery is at 34 Atlantic Ave., Boothbay Harbor. Hours are 10 a.m. to 5 p.m. daily. Call 207-633-7025 or go to joytothewind.com for more information.