Orphism (art)

[3] The decomposition of spectral light in Neo-Impressionist color theory of Paul Signac and Charles Henry played an important role in the development of Orphism.

"Seurat knows well" wrote Fénéton in 1889, "that the line, independent of its topographical role, possesses an assessable abstract value" in addition to the particles of color, and the relation to emotion of the viewer.

[2] Apollinaire mentioned the term Orphism in an address at the Salon de la Section d'Or in 1912, referring to the pure painting of František Kupka.

[5] In his 1913 Les Peintres Cubistes, Méditations Esthétiques Apollinaire described Orphism as "the art of painting new totalities with elements that the artist does not take from visual reality, but creates entirely by himself.

These analogies could be seen in the titles of paintings such as Kupka's Amorpha: Fugue in Two Colors (1912); Francis Picabia's Dance at the Source (1912) and Wassily Kandinsky's Über das Geistige in der Kunst (1912).

Their earlier works focused on Fauvist colors, variously abstract; such as Sonia's 1907 Finnish Girl and Robert's 1906 Paysage au disque.

[4] Delaunay officially broke with cubism in 1912, faulting Picasso for restricting the palette of his still lifes to muted, monkish tones of brown and gray, and for retaining traces of figurative imagery.

[6] Even though Orphism was effectively dissolved before World War I, American painters Patrick Henry Bruce and Arthur Burdett Frost Jr., two of R. Delaunay's pupils, embarked on a similar form of art from 1912 onward.