Portrait of Philomene 1907

Curator: Here we have Sonia Delaunay's 1907 oil on canvas, titled "Portrait of Philomene". It’s a rather striking image, isn’t it? Editor: Absolutely, it jumps right out! The intensity in the sitter’s gaze is palpable, yet there's also a strange vulnerability about the geometrical blocks of colour, those harsh reds painted directly on the cheeks. Curator: Delaunay created this early work within a transitional period. Before fully embracing the abstract principles of Orphism, the influences of Expressionism and Symbolism are clear to see here, it almost looks like a Fauvist study. These influences would have certainly led her development into non-objective painting later in her career. Editor: I’m drawn to how the angular brushstrokes shape Philomene’s face, lending it a mask-like quality. Given Delaunay’s position as a female artist during the period and that intersection with Philomene as her subject; does that artistic choice emphasize any potential societal constraints for either subject or artist at that point in time? The gaze really is central. Curator: Possibly. Delaunay was active during a crucial moment of political reform and intense debate about the visibility and the societal role of women within the Western world, which undoubtedly will have an impact on her portraiture. In "Portrait of Philomene", the use of bold colour to describe contours flattens out any hint of individual interiority, perhaps suggesting some deeper comment on social and individual identity? It also prefigures Delaunay’s work in graphic design where bold colours communicate social meaning on advertising billboards. Editor: It’s incredible how those harsh strokes of colour and minimal detail manage to convey such complexity of expression, too. It almost feels defiant! The hints of dark blue shadowing beneath her right eye is so telling as it adds a fragility that would easily be lost, and that is echoed in her lip detail that is almost the reverse colour of the blusher; which also adds so much narrative! Curator: Exactly! The simplification of form really is the key. We might also see the development of Sonia’s approach to textile work here – the simplification of blocks is seen frequently throughout her other work that followed on from this transitional time. It’s a striking early exploration of line, form, and identity which offers glimpses of her very distinctive later practice, doesn’t it? Editor: Indeed! Examining how Delaunay approached representing an individual at this stage really brings forth relevant discourse for society to look into when reviewing constraints or impositions and identity.