Del cubismo al arte inobjetivo
Robert Delaunay, a painter by trade, wanted to write a book, never finished it: this is the book Robert Delaunay wanted to write.
This syllogism that seems paradoxical, twisted, spirical, nonetheless emerges as evidence when touring this paper meeting conducted by Pierre Francastel. These recovered papers, hitherto unpublished in Spanish, reflect Delaunay’s annotations about his work, about the reflections of his friend the poet Apollinaire about Cubism and its future, as well as conversations with his colleagues and students and even a project for a museum of Inobjective art
If, as Souriau says, there is no work of art that is not a work to be done, finding these fragments of writing should not lead us to lament for an alleged lack of unity but to confirm the search for a style of writing by fragments, aphorisms, by brushstrokes and touches, where perhaps the painter who writes feels the need, unconscious, to make some of the painting happen in writing. A stoned writing.
The work of Robert Delaunay (who goes in duet with that of Sonia, his wife) expresses the highest point of a central mutation in the plastic arts (whose plastic becoming Jean-Clet Martin analyzes in the prologue), towards the synthetic, Simultaneous, the non-objective. Mutation that is expressed transversely in all fields in that early twentieth century, which had its predecessors “in our revolutionary Delacroix, of which we are grandchildren,” and “in the stubborn Cézanne.” Mutation that brings light and color to its primary place, to the formal place, which creates forms and rhythms.
But the search for the Delaunay, although inscribed in a lineage, will be a radical break with the old means of expression (the old schools, but also Cubism, Futurism, Neo-Impressionism, geometric abstraction), will be the creation of new media . From there the “inobjective” nickname that seeks to demarcate from the river of abstraction the tributary with the greatest burden of the future: that driven by light and color.
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