Harmony and Dissonance: Exploring Orphism and the Parisian Avant-Garde
The exhibition "Harmony and Dissonance: Orphism in Paris, 1910–1930" at the Solomon R. Guggenheim Museum in New York brings together an impressive collection of works that highlight the enduring influence of Orphism on modern art. The show features selected works by notable artists such as Amadeo de Souza-Cardoso, Marc Chagall, Marcel Duchamp, Albert Gleizes, Mainie Jellett,Fernand Léger, Stanton Macdonald-Wright, and Morgan Russell, among others.
LEFT: Robert Delaunay, Red EiffelTower(La Tourrouge), 1911–12. Oil on canvas, 49 1/4×353/8 (125×90.3 cm). Solomon R.Guggenheim Museum, New York, SolomonR. Guggenheim Founding Collection46.1036. Photo: MidgeWattles, Solomon R.Guggenheim Museum, New York; RIGHT: Albert Gleizes, On Brooklyn Bridge(Sur Brooklyn Bridge), 1917. Oil on canvas, 63 3/4×51 in. (161.8×129.5 cm). Solomon R.Guggenheim Museum, New York, SolomonR. Guggenheim Founding Collection 37.489.© Estate of Albert Gleizes / Artists RightsSociety (ARS), New York / ADAGP, Paris.Photo: Ariel Ione Williams, Solomon R.Guggenheim Museum, New York
These artists, each with their unique approach to abstraction, explore the complexities of color, form, and movement, reflecting the rapid advances of modernity that characterized the early 20th century. The exhibition not only celebrates the aesthetic and conceptual richness of Orphism but also highlights the transnational intersection of artists who found in Paris a melting pot for their revolutionary ideas.
LEFT: Exhbition Views: "Harmony and Dissonance: Orphism in Paris, 1910–1930" at the Solomon R. Guggenheim Museum in New York; RIGHT: Exhbition Views: "Harmony and Dissonance: Orphism in Paris, 1910–1930" at the Solomon R. Guggenheim Museum in New York.
Cultural Context: Art and Innovation Epicenter
At the dawn of the 20th century, Paris was emerging not only as the pulsating heart of global art but also as a true incubator of avant-gardes and cultural innovations. During this era, the city was a setting for artistic consolidation and a crucible of bold experiments in arts and thought. Intellectuals, artists, and writers from all around the world were drawn to this fertile territory, where freedom of expression found rich soil to flourish. Parisian cafes and salons buzzed with heated debates and creative exchanges, frequented by brilliant minds at the forefront of redefining visual aesthetics. This cultural effervescence often culminated in the emergence of revolutionary movements like Cubism and, later, Orphism.
LEFT: Francis Picabia,Edtaonisl (Ecclesiastic)(Edtaonisl [Ecclésiastique]), 1913. Oil oncanvas, 118×118 in. (299.7×299.7 cm).The Art Institute of Chicago, Gift of Mr. and Mrs. Armand Bartos, 1953.© 2024 ArtistsRights Society (ARS), New York / ADAGP, Paris. Photo: The Art Institute of Chicago / ArtResource, NY; RIGHT: Marc Chagall, Homage to Apollinaire(Hommage à Apollinaire), 1913. Oil oncanvas, 78 7/8×74 5/8 in. (200.4×189.5cm). Collection Van Abbemuseum, Eindhoven, The Netherlands, with the support of Vereniging Rembrandt.© 2024Artists RightsSociety (ARS), New York / ADAGP, Paris. Photo: Peter Cox, Collection VanAbbemuseum, Eindhoven.
The Movement
Orphism, a facet of Cubism that emphasizes the vibrant and musical use of color and form, was officially born in 1912. The term was coined by the poet and art critic Guillaume Apollinaire, highlighting his interpretation of the work of artists Robert and Sonia Delaunay. Apollinaire described Orphism as a pure expression of art resembling music, in contrast to the more rigid and analytical approach of Cubism.
LEFT: Mainie Jellett, Painting, 1938. Oil on canvas,29 15/16×25 7/16 in. (76×64.6 cm).National Museums NI, Ulster MuseumCollection, Northern Ireland, Donated by the Thomas Haverty Trust. Photo: NationalMuseums NI; RIGHT: Morgan Russell, Four Part Synchromy, Number 7, 1914–15. Oil on paperboard and canvas mounted on plywood; four parts, 16×12 in. (40.6×30.5 cm) overall. Whitney Museum of American Art, New York; Gift of the artist in memory of Gertrude Vanderbilt Whitney.Digital image © Whitney Museum of American Art / Licensed by Scala / ArtResource, NY.
Orphism stands out within the modernist movement primarily for its bold use of color and its pursuit of an artistic expression that transcended traditional visual representations, drawing closer to the essence of music. Orphist artists aspired to capture the dynamic and intangible qualities of light and movement, employing geometric forms and vibrant colors to create a sense of rhythm and fluidity. This approach was seen as a way to express the new urban and technological realities, reflecting the speed and energy of contemporary life.
LEFT: František Kupka,Disks of Newton (Study for“Fugue in Two Colors”)(Disquesde Newton[Étude pour “La fugue à 2 couleurs”]),1912.Oil on canvas, 39 1/2×29 in. (100.3×73.7cm). The Philadelphia Museum of Art: Louise and Walter Arensberg Collection,1950© 2024 Artists Rights Society (ARS), New York / ADAGP, Paris. Photo: The Philadelphia Museum of Art; RIGHT: Stanton Macdonald-Wright, Conception Life-Cycle Series No. II: Tinted Sketch forSynchromy in Blue-Violet,1914. Watercolor and ink on paper,23 × 17 5⁄8 in.(58.4 × 44.8cm).Vilcek Foundation© Estate of StantonMacdonald-Wright. Photo: Vilcek Foundation;
The Orphist technique often resulted in works that seemed to pulsate with their own energy, suggesting a visual continuity that extended beyond the edges of the canvas. The influence of Neo-Impressionism and color theory was also significant, enabling artists to explore complex chromatic relationships that not only challenged visual perception but also evoked intense emotions. The attempt to synthesize visual arts with music was not merely metaphorical; it was an effort to articulate a new visual language that could parallel the auditory experience, making Orphism an important precursor to the various forms of abstract art that would follow.
Robert Delaunay,Circular Forms(Formescirculaires), 1930. Oil on canvas,50 3/4×763/4in. (128.9×194.9 cm). Solomon R.Guggenheim Museum, New York, SolomonR. Guggenheim Founding Collection49.1184.Photo: Kristopher McKay, Solomon. Guggenheim Museum, New York.
Protagonists
Marcel Duchamp, another key figure in this narrative, while more often associated with Dadaism and conceptual art, also had moments of convergence with Orphism. His works during this phase demonstrate an interest in dematerialization and movement, elements that played a crucial role in the development of his most radical ideas, such as the famous Bicycle Wheel.
Mainie Jellett was a pioneering Irish artist who played a vital role in introducing and developing modernism in her country. Jellett's work is notable for its abstract exploration of form and color, central elements of Orphism. Beyond her contribution to painting, Jellett was a tireless advocate for modern arts in Ireland, organizing exhibitions, writing critiques and essays, and educating a new generation of artists about the possibilities of modernism. Through her artistic work and advocacy, she left a lasting legacy that significantly shaped the course of modern art in Ireland.
LEFT: Exhibition Views: "Harmony and Dissonance: Orphism in Paris, 1910–1930" at the Solomon R. Guggenheim Museum in New York; RIGHT: Exhibition Views: "Harmony and Dissonance: Orphism in Paris, 1910–1930" at the Solomon R. Guggenheim Museum in New York.
The Exhibition
The exhibition Harmony and Dissonance promises to be an in-depth exploration of Orphism, featuring over 80 works, including paintings, sculptures, works on paper, and ephemera. Spanning across five levels of the Guggenheim's iconic rotunda, the show not only celebrates the museum's 65th anniversary but also offers a critical reevaluation of a movement that, while central to the development of modern art, has often not received the recognition it deserves.
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