Prismes électriques captures Sonia Delaunay’s fascination with a new technology - the electric street lamp.

After the nineteenth century renovation of old Paris, thousands of gas lamps lit the city, transforming its nightlife. Impressionists often painted outdoor night scenes that included gas lamps in the compositions. Ever the trendsetter, Paris then went on to have the world’s first electric street lights installed in 1878. These early street lights looked like glowing white orbs - much like the centers of the circles in Prismes électriques - a coincidence? I think not! 

Fast forward to 1913, and Sonia Delaunay watched as electric street lights were installed in her Parisian neighborhood, prompting her to paint Prismes électriques, which translates to "electric prisms". As seen here, Sonia’s signature style was a combination of Cubism’s geometry and fauvist colors. Sonia and fellow artist/ hubby Robert Delaunay pioneered the art movement Orphism, an off-shoot of Cubism. This work also expresses the power couple’s interest in ‘simultaneism’ - abstract compositions of dynamic, contrasting colors and shapes. 

Prismes électriques features the concept of ‘simultaneous contrast’, in which colors look different depending on the other colors around them, with the intention of creating a sense of movement and visual vibration. It's similar to Seurat’s use of color theory in A Sunday Afternoon on the Island of la Grand Jatte, but trippier. Combined with Sonia’s trademark concentric circles, the colors and geometry create a dynamic, avant garde canvas. Sonia also employed abstract designs, such as this one, in tapestries, textiles, mosaics, the exterior of cars, and even her own fashion line. Talk about side hustles!  In Prismes électriques, Sonia uses her and Robert’s visual language to show her wonder at the technological advances happening right before her eyes. And I thought NFTs were crazy.