SONIA DELAUNAY (and the missing pages)


Having started to work through the (optional) Introduction to H.E. Course, I undertook some research on Sonia Delaunay. This was in response to an assignment which centred on choosing six pieces by which to introduce my chosen subject. This blog follows that form, with six pieces discussed below, in section 2. I also wanted to reflect on what I had learned about broader aspects of the art world. This is covered in the third and final section.  This introduction, however, continues below, explaining why I chose Sonia Delaunay.

1.1 Why Sonia Delaunay?

I visited the The EY Exhibition: Sonia Delaunay at Tate Modern during the summer of 2015. I knew nothing about her or her body of work. I thoroughly enjoyed the exhibition and left as an admirer.

The process of buying tickets and attending the exhibition, however, surprised me. I made a mistake in my original selection of the time I wanted to attend. When I called to change it, I was advised that the timing did not really matter and further, I could turn up anytime on the specified day. This was the first exhibition I had attended at any large London gallery in recent years where the advice was not about being punctual! Clearly, the exhibition was not particularly well attended.

Having been to the exhibition I felt surprised that I had never heard of her before. Was it because women are ignored in the history of Art? Did it indicate a pecking order in the arts and that she suffered from being active in “Applied Arts”? Did I have to accept that my ignorance was actually due to my poor knowledge of Art History?

I had, however, heard of her husband, Robert Delaunay.

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