Resisting Abstraction

Robert Delaunay and Vision in the Face of Modernism

Hardcover | 25 November 2014 | Edition Number 1

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Robert Delaunay was one of the leading artists working in Paris in the early decades of the twentieth century, and his paintings have been admired ever since as among the earliest purely abstract works.

WithResisting Abstraction, the first English-language study of Delaunay in more than thirty years, Gordon Hughes mounts a powerful argument that Delaunay was not only one of the earliest artists to tackle abstraction, but the only artist to present his abstraction as a response to new scientific theories of vision. The colorful, optically driven canvases that Delaunay produced, Hughes shows, set him apart from the more ethereal abstraction of contemporaries like Kandinsky, Mondrian, Kazimir Malevich, and Franti?ek Kupka. In fact, Delaunay emphatically rejected the spiritual motivations and idealism of that group, rooting his work instead in contemporary science and optics. Thus he set the stage not only for the modern artists who would follow, but for the critics who celebrated them as well.

Industry Reviews

"Resisting Abstraction presents a new understanding of Robert Delaunay's achievement that goes beyond the stylistic and iconographic approaches that are typical of the literature to now. It does so by offering truly original readings of Delaunay's early work (during the years of his most important production) that give us new insights into how to read them and that allow Hughes to situate Delaunay's work in relation to theories of vision and historical events that reveal the depth and intelligence of Delaunay's work in those years."--Charles Palermo, College of William and Mary
"For over a century, Robert Delaunay's modernist masterpiece, First Disk (1913), has defied understanding by all comers. Now in a brilliantly economical tour de force of historical and critical recreation, Gordon Hughes has solved the mystery. Resisting Abstraction is a wonderful book, one that will instantly take its place on a short shelf of indispensable studies of the great years of early twentieth-century art."--Michael Fried, Johns Hopkins University

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