When Paris Painted to the Beat of Orpheus and Electric Light
A century ago, Paris’s art scene buzzed with a new kind of energy—one that swapped somber shapes for vibrant, musical color. Orphism, named by poet Guillaume Apollinaire after the mythical musician Orpheus, broke away from Cubism’s muted geometry and instead pulsed with the rhythms of modern life.
This movement, led by Robert and Sonia Delaunay, František Kupka, and others, reveled in the science of color. Inspired by chemist Michel-Eugène Chevreul’s discoveries, they experimented with how hues interact, creating a visual symphony that echoed the city’s electric lights and speeding trains. Their theory of “simultaneity” layered multiple moments and perspectives in a single canvas, capturing the chaos and excitement of a rapidly changing world.
Circular forms—mirroring both city lights and cosmic events—became Orphism’s signature, while the movement’s fascination with music and dance brought a sense of harmony and discord to their work. Though brief, Orphism’s kaleidoscopic vision left a lasting mark, hinting at the wild, multi-sensory art to come.
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