Kandinsky described the relationships between sound and color. These analogies could be seen in the titles of paintings such as Kupka's Amorpha: Fugue in Two Colors (1912) Francis Picabia's Dance at the Source (1912) and Wassily Kandinsky's Über das Geistige in der Kunst (1912). An Orphic painter's works should convey an 'untroubled aesthetic pleasure', a meaningful structure and sublime significance." Orphism represented a new art-form, much as music was to literature. In his 1913 Les Peintres Cubistes, Méditations Esthétiques Apollinaire described Orphism as "the art of painting new totalities with elements that the artist does not take from visual reality, but creates entirely by himself. Apollinaire Sonia Delaunay, 1914, Prismes électriques, oil on canvas, 250 x 250 cm, Musée National d'Art Moderne, Centre Pompidou, ParisĪpollinaire mentioned the term Orphism in an address at the Salon de la Section d'Or in 1912, referring to the pure painting of František Kupka. The voice of light that Apollinaire mentioned in his poems was a metaphor for inner experiences. In 1907 Apollinaire wrote Bestiaire ou cortège d'Orphée, symbolizing Orpheus as a mystic and influential poet and artist, just as the Symbolists. The Symbolists perceived Orpheus of Greek mythology as the ideal artist. The Cubists ultimately employed the theory to some extent in color, form and dynamics. The Neo-Impressionists had succeeded in establishing an objective scientific basis for their painting in the domain of color, but only as regards the spectrum of light (for paint pigments the result was less scientific). The underlying theory behind Neo-Impressionsim had a lasting effect on the works of Delaunay. "Seurat knows well" wrote Fénéton in 1889, "that the line, independent of its topographical role, possesses an assessable abstract value" in addition to the particles of color, and the relation to emotion of the viewer. Henry and Seurat agreed that the basic elements of art-line, color and form-like words, could be treated independently, each with its own abstract quantity, independent of one another, or in unison, depending on the intention of the artist. Henry brought emotional associational theory into the realm of art: something that ultimately influenced the Neo-Impressionists. He also knew Seurat, Signac and Pissarro, whom he met during the eighth and last Impressionist exhibition in 1886. A mathematician, inventor, and esthetician, Charles Henry was a close friend of the Symbolist writers Félix Fénéon and Gustave Kahn. Robert Delaunay, Albert Gleizes, and Gino Severini all knew Henry personally. The decomposition of spectral light in Neo-Impressionist color theory of Paul Signac and Charles Henry played an important role in the development of Orphism. The movement also strove toward the ideals of Simultanism: endless interrelated states of being. Orphism aimed to vacate recognizable subject matter by concentrating exclusively on form and color. More concerned with sensation, they began with recognizable subjects, depicted with abstract structures. They saw art as the unification of sensation and color. The Orphists were rooted in Cubism but tended towards a pure lyrical abstraction. History František Kupka, Katedrála (The Cathedral), 1912-13, oil on canvas, 180 x 150 cm, Museum Kampa, Prague, Czech Republic The meaning of the term Orphism was elusive when it first appeared and remains to some extent vague. This movement, perceived as key in the transition from Cubism to Abstract art, was pioneered by František Kupka, Robert Delaunay and Sonia Delaunay, who relaunched the use of color during the monochromatic phase of Cubism. Orphism or Orphic Cubism, a term coined by the French poet Guillaume Apollinaire in 1912, was an offshoot of Cubism that focused on pure abstraction and bright colors, influenced by Fauvism, the theoretical writings of Paul Signac, Charles Henry and the dye chemist Michel Eugène Chevreul. Robert Delaunay, Simultaneous Windows on the City, 1912, Kunsthalle Hamburg For the ancient Greek religion, see Orphism (religion).
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