- Robert Delaunay
- Relief noir avec des cercles de couleur
- oil, plaster and sand on plywood
- 46 by 38cm., 18 1/8 by 15in.
Charles Delaunay (the artist's son, by descent from the above)
Galerie Gmurzynska, Cologne
Acquired from the above by the present owner in 2007
Leverkusen, Städtisches Museum Morsbroich & Mannheim, Kunsthalle Mannheim, Robert Delaunay, 1956, no. 63
Ottawa, The National Gallery of Canada, Robert Delaunay Sonia, 1965, no. 47, illustrated in the catalogue
Paris, Orangerie des Tuileries, Robert Delaunay, 1976, no. 103, illustrated in the catalogue
Paris, Louis Carré et Cie., Robert Delaunay, Peintures, reliefs, aquarelles et dessins, 1980-81, no. 11, illustrated in the catalogue
Munich, Staatsgalerie Moderner Kunst, Delaunay und Deutschland, 1985-86, no. 121, illustrated in the catalogue
Cologne, Galerie Gmurzynska, Malerei im Prisma. Freundkreis Sonia und Robert Delaunay, 1991, illustrated in colour in the catalogue
Barcelona, Museu Picasso, Robert I Sonia Delaunay, 2000-01, no. 176, illustrated in colour in the catalogue
Valencia, Centro Cultural Bancaja, Robert y Sonia Delaunay: Exposición Internacional de Artes y Técnicas de París 1937, 2002, n.n., illustrated in colour in the catalogue (dated 1930)
Taking Cubism as one of his points of departure, Delaunay first developed a vocabulary of colour planes only distantly dependent on observed motifs. After painting various figurative themes during the 1920s, he returned to complete abstraction in 1930 and made numerous compositions with circular discs and colour rhythms, sometimes in low relief, such as the present work. This self-sufficient language of geometric forms and colours was perhaps a response to Gleizes’s celebrated lectures. The advocates of geometric abstraction in Paris had formed such groups as Cercle et Carré (1930) and Abstraction–Création (1931), which organised lectures, exhibitions and discussions, and to which Delaunay was invited.