Orphism (French orphisme, named after the character of the ancient Greek mythology of the singer Orpheus) is a trend in European painting of the 1910s, close to cubism and futurism. The term “Orphism” was invented by the poet and art critic Guillaume Apollinaire (Orphism as the culprit of Orpheus) to characterize the work of Robert Delaunay and publicly announced during a lecture on contemporary painting in October 1912. The proposed name, the poet apparently wanted to emphasize a particular musicality , intuitiveness, irrationality of abstract art Delaunay.
Subsequently, Apollinaire extended this concept to the work of cubists, Dadaists and artists of the Blue Horseman group (Kandinsky, Mark, Macke, Yavlensky), introducing a certain confusion into the essence of the concept itself.
Orphism is a local, short-lived stream in painting, represented by the names of Robert Delaunay, his wife Sonya Terk-Delaunay, Frantisek Kupka and their few followers, among whom the most prominent figures were Fernand Leger, Francis Picabia, Vladimir Baranova-Rossine. The orphists proclaimed their goal to create “a new reality from the simplest, but most subtlely organized color combinations.” Their painting was based on the effects of movement that arise when contrasting colors are compared. Aesthetism, abstract plasticity, the rhythm of forms, silhouettes and lines are characteristic features of orphism.
Masters of orphism: Robber Delaunay, Sonia Terk-Delaunay, Frantisek Kupka, Francis Picabia, Vladimir Baranov-Rossine, Fernand Leger, Morgan Russell.