Sonia / Robert Delaunay (1885 - 1941)

 Sonia / Robert  Delaunay (1885 - 1941) 

   "𝘐 𝘭𝘰𝘷𝘦 𝘤𝘳𝘦𝘢𝘵𝘪𝘰𝘯 𝘮𝘰𝘳𝘦 𝘵𝘩𝘢𝘯 𝘭𝘪𝘧𝘦, 𝘢𝘯𝘥 𝘐 𝘮𝘶𝘴𝘵 𝘦𝘹𝘱𝘳𝘦𝘴𝘴 𝘮𝘺𝘴𝘦𝘭𝘧 𝘣𝘦𝘧𝘰𝘳𝘦 𝘥𝘪𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘪𝘯𝘨."

「她是一位傑出的女性。 ~德勞內是一位非凡的女性：藝術家、企業家、母親、賢妻良母，也是一位先驅。 以下是她克服重重困難所取得的一些成就。 索妮亞和她的丈夫羅伯特曾經歷過經濟困境，尤其是在第一次世界大戰期間，這迫使他們逃離法國，前往西班牙和葡萄牙。為了養家糊口，她設計紡織品、服裝和室內裝飾，為她日後在時尚和設計領域的成功奠定了基礎。儘管她與羅伯特共同發展了同時主義和奧菲主義藝術運動，但最初的大部分功勞都歸於羅伯特，這反映了當時女性在藝術界普遍面臨的困境。 ~1918年至1935年間，她很少作畫，而是專注於育兒和支持丈夫的事業。 1921年，她在巴黎開設了一家時裝店，吸引了像電影明星格洛麗亞·斯旺森這樣的魅力客戶。她的布料設計廣受歡迎，促成了她於1924年與雅克·埃爾姆的合作，以及與梅茲公司的長期合作。在此期間，她還與詩人特里斯坦·查拉一起探索受達達主義啟發的「服裝詩」。 1937年巴黎世博會期間，這對夫妻受邀裝飾兩座展館。這標誌著索尼婭重返繪畫領域，她的作品廣受好評。 ~1941年羅伯特過世後，她靠著出售兩人的作品維持生計。身為一名出生於俄羅斯的猶太女性，生活在納粹佔領下的法國，她時時刻刻面臨著危險，不得不頻繁搬遷以躲避逮捕。有一次在戛納，當被問及她的猶太血統時，她毫不退讓，最終成功登上火車，並逃脫了抓捕。儘管戰爭殘酷無情，她依然堅韌不拔，後來因其藝術貢獻而獲得認可。

"𝘐 𝘭𝘰𝘷𝘦 𝘤𝘳𝘦𝘢𝘵𝘪𝘰𝘯 𝘮𝘰𝘳𝘦 𝘵𝘩𝘢𝘯 𝘭𝘪𝘧𝘦, 𝘢𝘯𝘥 𝘐 𝘮𝘶𝘴𝘵 𝘦𝘹𝘱𝘳𝘦𝘴𝘴 𝘮𝘺𝘴𝘦𝘭𝘧 𝘣𝘦𝘧𝘰𝘳𝘦 𝘥𝘪𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘪𝘯𝘨."

𝗦𝗼𝗻𝗶𝗮 𝗗𝗲𝗹𝗮𝘂𝗻𝗮𝘆, 1965

"𝘐 𝘭𝘰𝘷𝘦 𝘤𝘳𝘦𝘢𝘵𝘪𝘰𝘯 𝘮𝘰𝘳𝘦 𝘵𝘩𝘢𝘯 𝘭𝘪𝘧𝘦, 𝘢𝘯𝘥 𝘐 𝘮𝘶𝘴𝘵 𝘦𝘹𝘱𝘳𝘦𝘴𝘴 𝘮𝘺𝘴𝘦𝘭𝘧 𝘣𝘦𝘧𝘰𝘳𝘦 𝘥𝘪𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘪𝘯𝘨."

~Delaunay was quite a remarkable woman; an artist, an entrepreneur, a mother & supportive wife, and a pioneer.

Here are some of her accomplishments, despite the obstacles she faced.

Sonia & her husband, Robert, experienced financial struggles, especially during World War I, forcing them to flee France for Spain & Portugal. To support their family, she designed textiles, costumes, and interiors, laying the foundation for her later success in fashion & design. Despite co-developing Simultanism, and the Orphism art movement, much of the credit initially went to Robert, reflecting the broader struggle of women in the art world.

~During the period 1918 to 1935, she painted little, focusing on parenting & supporting her husband's career. She opened a Paris fashion shop in 1921, attracting glamorous clients, like moviestar Gloria Swanson. Her fabric designs gained popularity, leading to a partnership with Jacques Herm in 1924, as well as a long-term collaboration with Metz & Co. During this time she also explored Dada-inspired "dress-poems" with poet Tristan Tzara. For the Paris Exposition in 1937, the couple was asked to decorate two buildings. This marked Sonia's return to painting, and her work was very well received.

~After Robert’s death in 1941, she survived by selling both their works. As a Russian-born Jewish woman in Nazi-occupied France, she faced constant danger, frequently relocating to avoid arrest. Once, in Cannes, she stood her ground when questioned about her Jewish heritage, she succeeded in boarding her train thus escaping capture. Despite the war’s horrors, she remained resilient, later gaining recognition for her artistic contributions.

"The woman who made colour dance" ★★★★★ (The Guardian)
Have you seen Sonia Delaunay yet at Tate Modern?

The EY Exhibition: Sonia Delaunay

TATE.ORG.UK



Tate



'A woman who transformed colour into the stuff of dreams' @Duroolowu on ‪#‎SoniaDelaunay‬ http://ow.ly/PBrby


Tate


"As they wake up, the Delaunays speak painting."
Discover the real Sonia Delaunay in the words of her friends and fellow artists







Love, friendship & rivalry: Delaunay’s circle

TATE.ORG.UK



"They are not domestic works done at the easel. They are out in space. They are universal." Artist Sheila Hicks on how she has been inspired by Sonia Delaunay



The multi-talented Delaunay

TATE.ORG.UK



Caroline de Maigret is dreaming of Sonia Delaunay in this short film by by Bertrand Le Pluard

Sonia Delaunay Artist Sonia Delaunay was a Russian-born French artist, who spent most of her working life in Paris and, with her husband Robert Delaunay and others, cofounded the Orphism art movement, noted for its use of strong colours and geometric shapes. Wikipedia Born: November 14, 1885, Odessa, Ukraine Died: December 5, 1979, Paris, France ----- [Robert Delaunay. "Simultaneous Contrasts: Sun and Moon." Paris 1913 (dated on painting 1912)] Happy birthday to French painter Robert Delaunay, born today in 1885, in Paris. From the Guggenheim collection, "Red Eiffel Tower (La tour rouge)" 1911-12: http://gu.gg/LsekW Robert Delaunay Simultaneous Windows on the City, 1912,Hamburger Kunsthalle Born Robert-Victor-Felix Delaunay 12 April 1885 Paris, France Died 25 October 1941 (aged 56) Montpellier, France Nationality French Known for Painting Movement Orphism, Cubism, Expressionism Centre Pompidou [Exposition] Laissez-vous emporter par l'enroulement infini de polychromes et le mouvement effréné du manège de Robert Delaunayavec l'exposition "Rythmes sans fin" http://goo.gl/2EnulD --- Robert Delaunay (1885 - 1941) Autoportrait 1905 - 1906 Huile sur toile 54 x 46 cm © Georges Meguerditchian - Centre Pompidou, MNAM-CCI /Dist. RMN-GP © domaine public Robert Delaunay, Manège de cochons, 1922 Crédit photographique : © Centre Pompidou, MNAM-CCI, Dist. RMN / Photo : Georges Meguerditchian Robert Delaunay Circular Forms, 1924 http://commons.wikimedia.org/w…/File:GUGG_Circular_Forms.jpg Robert Delaunay Window on the City No. 3, 1911-13 http://commons.wikimedia.org/…/File:GUGG_Window_on_the_City…

Michael Graves (1934-2015)邁克爾·格雷夫斯“紐約五人組”（The New York Five）麥可‧格雷夫斯經常強調，草圖/繪圖是建築師探索理念、交流願景和發展設計的基本工具。

Michael Graves (1934-2015)邁克爾·格雷夫斯“紐約五人組”（The New York Five）麥可‧格雷夫斯經常強調，草圖/繪圖是建築師探索理念、交流願景和發展設計的基本工具。

麥可‧格雷夫斯（Michael Graves，1934年7月9日－2015年3月12日）是一位美國建築師。他被認為是“紐約五人組”和“孟菲斯集團”的成員之一。格雷夫斯最初以其當代建築設計和一些著名的公共委託項目而聞名，這些項目後來成為後現代建築的標誌性典範，例如波特蘭大廈和丹佛公共圖書館。他為義大利高端家居用品製造商阿萊西（Alessi）設計家用產品，後來又為美國塔吉特（Target）和彭尼百貨（J.C. Penney）等商店設計低價新品，這些都提升了他的知名度。 [1] 他是新都市主義和新古典主義建築的代表人物，也曾設計過後現代建築，並被認為是這三大建築運動的重要影響者。 [3]

這段引文強調了繪圖和草圖在建築實踐中，尤其是在概念階段，具有永恆的重要性。這種理念與邁克爾·格雷夫斯等建築師的觀點不謀而合，他們提倡手繪在建築中的重要性。作為後現代建築的傑出人物，麥可‧格雷夫斯經常強調，繪圖是建築師探索理念、交流願景和發展設計的基本工具。儘管數位技術和3D建模取得了長足進步，格雷夫斯仍然認為，繪圖的觸覺性和直覺性能夠激發創造力，並加深與設計過程的連結。他的觀點強調，繪圖仍然是建築過程中不可或缺的一部分，它在塑造和傳達建築理念方面發揮著重要作用。

20150312_再見

麥可‧格雷夫斯 1934 ~ 2015

「我們一起度過了許多美好的時光，」彼得艾森曼說。正如我對理查德·邁耶所說，“然後就只剩下我們兩個了。”

The quote emphasizes the timeless significance of drawing and sketching in architectural practice, particularly during the conceptual stages. This philosophy aligns closely with the views of architects like Michael Graves, who championed the importance of hand-drawing in architecture. Michael Graves, a prominent figure in postmodern architecture, often stressed that drawing is a fundamental tool for architects to explore ideas, communicate visions, and develop designs. Despite advancements in digital technology and 3D modeling, Graves believed that the tactile and intuitive nature of drawing fosters creativity and a deeper connection to the design process. His approach underscores that drawing remains integral to the architectural process, preserving its role in shaping and conveying architectural ideas.








20150312_Goodbye
Michael Graves 1934 ~ 2015
“We had a lot of good times,” Peter Eisenman said. “As I said to Richard Meier, ‘And then there were two.’ ”

http://www.nytimes.com/…/michael-graves-prolific-architect-




Michael Graves (July 9, 1934 – March 12, 2015) was an American architect. Identified as one ofThe New York Five, as well as Memphis Group, Graves was known first for his contemporary building designs and some prominent public commissions that became iconic examples ofPostmodern architecture, such as the Portland Building and the Denver Public Library. His recognition grew through designing domestic products sold by premium Italian housewares makerAlessi, and later low-cost new designs at stores such as Target and J. C. Penney in the United States.[1] He was a representative of New Urbanism and New Classical Architecture and formerly designed postmodern buildings, and was recognized as a major influence in all three movements.[3]



Contents [hide]
1 Personal life
2 Career
2.1 Architecture
2.2 Product and furniture design
2.3 Academia
3 Awards and honors
4 Works
5 References
6 External links

§





The Engineering Research Center,University of Cincinnati



Humana Building in Louisville,Kentucky, 1982



Team Disney building in Burbank,California, 1986



The Walt Disney World Dolphin Resort in Orlando, Florida, 1987



NCAA Hall of Champions in Indianapolis, Indiana, 1997



Steigenberger Hotel in El Gouna, Egypt, in association with Ahmed Hamdy, 1997



The International Finance CorporationBuilding in Washington, D.C., 1992 - 1997, 2005



Museum of the Shenandoah Valley in Winchester, Virginia, 2005



425 Fifth Avenue in New York, New York, 2000
我(Daniel Libeskind)在庫珀聯合學院（Cooper Union）上過邁耶和艾森曼的課，也算做過他們的屬下。 20世紀60年代末，理查德·邁耶是“紐約五人組”（The New York Five）的成員之一。這個由前衛建築師組成的鬆散組織還包括查爾斯·格瓦思米、邁克爾·格雷夫斯（Michael Graves），還有跟我亦師亦友的約翰·海杜克（John Hejduk），他當過庫珀聯合學院建築系的系主任；這個小組由艾森曼率領。我的第一份工作就是當邁耶的助手，那是1968年。如今理查德·邁耶最有名的作品大概是洛杉磯的格蒂美術館（Getty Center），當時他以極白、極具幾何圖形的新柯布西耶（neo-Corbusian）風格設計而聞名。

邁耶的辦公室跟他的作品一樣，光滑，有如機器，一片沉靜。助手們坐在桌前，桌上攤開一本本大師的著作《建築師理查德·邁耶》（Richard Meier: Architect），靜靜臨摹著書上各種形狀的曲線。經過一整天不動腦筋的機械動作之後，我心想，這不是我該做的事。那該怎麼辦？第二天，我稱病不去。過了一天，我又打電話請假。再過一天也是。這樣過了一個星期之後，邁耶打電話到我家。 “你真的生病了嗎？”他問道。

“理查德，”我說：“實不相瞞，這事我做不來。我心中的建築不是這樣的，這不是我想做的。”有很多方式可描述艾森曼這個人——聰明、打破窠臼、創意泉湧——但是沒人說過他有人情味。雖然我也曾是他班上的學生，但我到他創建的紐約建築與都市研究學院（Institute for Architecture and Urban Studies）替他工作的第一天，完全出乎我的意料。當時我在英國，剛念完碩士，跟尼娜一起回紐約，一貧如洗。艾森曼不僅答應給我一份工作，也答應第一天就開一張支票給我，好讓我們撐過去。但我去找他的時候，他給了我一把掃帚，要我把辦公室掃一掃。才剛進門，就強要人低頭。我來是要從事建築的，不是掃地，所以我拒絕了。“你到底要這張支票——還是不要？”他手裡拿著支票問我。

“你自己留著吧。”我說完轉身就走。之後10年，我們沒再講過半句話。