The Delaunays
Sonia Terk Delaunay and Robert Delaunay, a husband and wife duo, were to become the main protagonists of the Orphic movement. In their earlier works, their styles focused on Fauvist colors with various degrees of abstraction; particularly evident in Sonia's Finnish Girl (1907) and Robert's Paysage au disque (1906). The former painting relies heavily on bright colors and smooth transitions between forms, while the latter relies on color and mosaic-like brushstrokes painted under the influence of Jean Metzinger, also a Neo-Impressionist (with highly Divisionist and Fauve components) at the time.
Their works became increasingly identifiable by the 'simultaneous' contrasting of colors and the tendency towards non-representation. In Robert's Eiffel Town Series, the subject is portrayed as if seen from several viewpoints at once; employing the concept of 'mobile perspective' developed by his close friend Metzinger. Soon, instead of using muted tones as the Cubists, he would paint with bold, bright colors juxtaposed one next to the other (a concept derived from Neo-Impressionist color theory). He often portrayed the tower with reds and pinks with cooler colors throughout. The more Robert painted the tower, the more abstract, fragmented and colorful it became.
In 1913 the Delaunays showed their works in the Salon des Indépendants and the Herbst Salon, the latter being the first Orphist Salon, which also hosted works by Picabia, Metzinger, Gleizes, Léger, and Futurist painters. Unlike others associated with Orphism, the Delaunays would return to this style throughout their lives.
Read more about this topic: Orphism (art)